iEarlg Am^rtran ]fitilk ^ntterfl 



ttuUtltin^ 



2Il|0 iftBtnrg nf thit ^ramngtnn ^PTotterg 



BY 



ALBERT HASTINGS PITKIN 

Curator of Wadsworth Atheneum and Morgan Memorial Hartford Conn. 

Member of the Connecticut Historical Society 

Member of the Walpole Society 

Member of the Society of Mayflower Descendants 

in the State of Connecticut 



HARTFORD CONNECTICUT 

MDCCCCXVIII 



/V 



COPYRIGHT 

BY 

Mrs. Albert Hastings Pitkin 



SEP -4 1918 



*J5 



This Edition is limited to Two hundred and Sixty 
copies of which this is No. 



iitrlubtttg 



(^ontmtB 



List of Illustrations (Bennington) 7 

Preface 11 

History of the Bennington Pottery 15 

Catalogue of Bennington Pottery 50 

Marks of Bennington Pottery 69 

List of Illustrations (Early American Folk 

Pottery) 77 

Introduction 79 

Early American Folk Pottery 79 

Catalogue of Early American Folk Pottery 115 
Tributes and Resolutions on the Death of 

Mr. Albert Hastings Pitkin ^. . 129 

Index 146 



Stat of t^t JUu0tratt0nfi of tl|? 
?BifttnutJ5t0tt Pctt^rg 

No. I. 

Grave-stone in Old Bennington Grave- 
yard, of Captain John Norton, the 
Pioneer Potter i6 

No. 2. 

Group of Granite Ware (left) and 
Parian (right) Water Pitcher, First 
Parian Ware made in the United States. 
Marked : " United States Pottery, Ben- 
nington, Vt.," circa 1846. Height, 9 
inches. 
Granite Ware Water Pitcher, Dark Blue 
under glaze and heavy Gold decoration. 
Height, g}i inches 18 

No. 3. 

Group of Pitchers (from left to right). 
Pitcher, green, light yellow and brown. 
Height, 7 inches. 

Pitcher, light green and yellow. 
Height, jy2 inches. 



8 LIST OF ILLUSTRATIONS 

Pitcher, dark brown, marked: " Norton 
and Fenton, Bennington, Vt." in a 
circle. Rockingham. Height, 8 
inches. 

Pitcher, brown glaze. Marked: "Nor- 
ton and Fenton, East Bennington, 
Vt." in two horizontal lines. Height, 
6y2 inches. Extremely rare. 

Pitcher, decoration, dark blue, yellow, 
green, brown and orange. Mark: 
" Lyman and Fenton, Bennington, 
Vt., 1849" ii^ usual circular mark. 
Flint enamel. Height, 6 inches. ... 20 

No. 4. 

Group of Flint Enamel. 

Pitcher, brown glaze, reeded. Im- 
pressed mark in a circle, " Norton 
and Fenton, Bennington, Vt." 
Height, 8 inches. 

Covered Jar, reeded. Height, 9 
inches. 
Pitcher, dark brown Hunting Scene. 
Flint enamel. Height, 7 inches ... 22 

No. 5. 

Large Water Cooler 24 

No. 6. 

Group of Flint Enamel. 

Coffee-pot, Tea-pot, Creamer and 

Sugar Bowl 26 

No. 7. 

Flint Enamel Foot Bath. Large eUiptical 
mark. Diameter, 21 inches 28 

No. 8. 

Pitcher, hound handled. Decoration, 
Grapes and Leaves. Rockingham. 



LIST OF ILLUSTRATIONS 



Water Pitcher. Flint enamel, tortoise- 
shell decoration. Signed *' Lyman, 
Fenton and Co. Fenton's Enamel, 
Pat. 1849, Bennington, Vt." Height, 
10^ inches. 

Water Pitcher. Flint enamel. Marked 
in circular mark " Lyman & Fenton, 
Fenton's Enamel, Bennington, Vt." 
Height, 1 1 inches. 

Little Covered Jar. Reeded. Tortoise- 
shell. Height, 7 inches 30 

No. 9. 

Lion on base. Flint enamel. Mark: 
'* Lyman, Fenton & Co. Fenton's 
Enamel. Pat. 1849. Bennington, Vt." 

Lion not on base. No mark. Flint 
enamel. 

Lion on base. Very curly mane. Mark: 
" Lyman, Fenton & Co. Fenton's 
Enamel. Pat. 1849. Bennington, Vt." 
Flint enamel 32 

No. 10. 

Deer on base. Flint enamel. Height, 1 1 
inches. Mark: "Lyman Fenton & 
Co. Fenton's Enamel. Pat. 1849. 
Bennington, Vt." 34 

No. II. 

Doe on base. Flint enamel. Height, 1 1 
inches. Mark: " Lyman Fenton & Co. 
Fenton's Enamel. Pat. 1849. Ben- 
nington, Vt." 2^ 

No. 12. 

Dogs with Baskets of Flowers. One, 

Parian Ware 38 



lO LIST OF ILLUSTRATIONS 

No. 13. 

Parian Pitcher 40 

No. 14. 

Vase. Scrodled Ware. Tulip shaped. 
Height, 9 inches. Unusual piece in 
Scrodle Ware 42 

No. 15. 

Child at Prayer. Parian 44 

No. 16. 

Monument composed of various Benning- 
ton Wares, exhibited at the New York 
Crystal Palace, in 1853 46 

No. 17. 

Water Cooler. Flint enamel 48 



l^ttfntt 



Having devoted much time, during the 
past thirty-five years, to research work, and the 
study of Early American Potteries, and their out- 
put, I long since concluded that the pottery estab- 
lished in the first decade of the Nineteenth Cen- 
tury, at Old Bennington, Vermont, and its suc- 
cessors, was probably the most important pottery 
of New England, during the first half of that 
century. 

To the study of this noted pottery, I have 
given so much time, obtaining so much historical 
data, and so large a Collection, of its most interest- 
ing productions, in great varieties of bodies and 
glazes, that my dear friend, the late Dr. Edwin 
A. Barber of Philadelphia, the foremost ceramist, 
and the most prolific author on the subject in our 
country, exacted from me, the promise that I 
would cause to be published the information which 
I had obtained, relative to this Pottery. 

I offer this explanation as my reason for 
presenting this work to the public. 



My principal sources of information have 
been the potters, themselves, those who worked at 
this pottery, of whom only a few are now living. 

When one realizes that the Bennington 
Potter}^ has now been closed nearly sixty years, 
and that the men employed there would be seventy- 
five, or more, years old, one can readily perceive, 
that, in some instances, memories may have failed. 
Hence slight inaccuracies may have crept in. But 
I have endeavored by a comparison of statements, 
as given by the different workmen, to as much as 
possible eliminate, or correct such statements, if in 
any way conflicting one with another. 

Without serious attempts at literary style, 
I present these pages to the reader. 

Albert Hastings Pitkin. 

Hartford, Connecticut. 
September, 19 17. 



2II|^ ?l^tBt0rg nf tlft l^nttutgtnn Pnttog 



of tl|r S^mttttjgtott Pott^rg 



Manufacturing interests in the United 
States, prev^ious to 1800, were somewhat limited 
in extent and variety. 

Among these industries, that of the potter, 
seems to have been prominent and we find records 
of small potteries well distributed throughout New 
England. These early potteries produced what 
are now called " red wares " and " stone wares," 
the latter becoming more abundant later on. The 
red wares were made from common brick clay, 
thoroughly levigated, fired at a comparatively low 
temperature, lead-glazed and more or less deco- 
rated, in colored slip, in a large variety of forms 
and sizes such as : — pitchers, cups, mugs, jugs, 
bottles, pie-plates, milk-pans, jars, crocks, bread- 
trays, and many toys and shelf ornaments, but 
principally articles of utility. The stone wares 
consisted largely of crocks, jugs, bottles, jars, and 
churns and were salt-glazed. 



1 6 HISTORY OF THE BENNINGTON POTTERY 

Connecticut seems to have led the other 
New England States, both in the number of her 
small potteries, and the amount of their out-put. 

John Pierce, was born in Wethersfield, 
Connecticut. He went to Litchfield, Conn., in 
1753, where he established a pottery. He was 
well-known as *' Potter Pierce." 

David Norton left Durham, Connecticut, 
and moved to Goshen, Connecticut (an adjoining 
town to Litchfield) about 1752. John Norton, the 
fourth child of David Norton, was born in 
Goshen, Connecticut November 29th, 1758, and 
married March 6th, 1782, Lucretia, daughter of 
Capt. Jonathan Buel, of Litchfield, Conn. He was 
known as Captain John Norton, and as we shall 
see, later on, was " Bennington's Pioneer Potter." 

Capt. John Norton was with Capt. Good- 
win, at New York, in 1776. Also, in the service 
in 1780. He was one of the selected guard, 
which was stationed around the scaffold at the exe- 
cution of Major Andre. (See History of Goshen, 
for this War Record.) 

In addition to the potters mentioned above, 
was Jesse Wadhams, and Hervey Brooks. These 
constituting what I would designate as the " Litch- 
field Group, of the Early Connecticut Potters." 

Capt. John Norton and his wife, left 
Goshen, Conn., and went to Williamstown, Mass., 
and Luman Norton, their oldest son, was bom 
there, February 9th, 1785. The following Spring, 
they moved to Old Bennington, Vermont. Capt. 




^acred to 
the luetiioryof 

C-ipt.Jolm Norton 
vvlio lieparted 

tliis liTo Auj^ust 




No. I. 



HISTORY OF THE BENNINGTON POTTERY 1 7 



Norton purchased land in the south part of the 
town, comprising what is now the Moses Wilson, 
the W. S. Hinman, and the Charles Tudor farms, 
about a mile and a quarter, south of the Old First 
Church of Bennington, and he built his pottery, 
opposite the spot where the Hinman house, now 
stands. 

Five years later, he built the house standing 
north of this property which is now occupied by 
Charles Tudor and which was known for many 
years, as the " Old Norton Homestead." His 
oldest son, Luman, built the Hinman house. 

Capt. Norton carried on farming, and 
about 1793, established a Pottery. The Captain 
was nicknamed " Potter Norton." 

From whom, Captain John Norton learned 
the pottery trade, has not been accurately ascer- 
tained, but there were several potters, in Litch- 
field County (referred to above) in his day. 

Presumably, Capt. Norton was originally a 
maker of what are now known as red wares. 
Every indication tends to show, that in his first pot- 
tery, at Bennington only salt-glazed stone ware 
was produced. He made ordinary house-hold 
utensils. Several pieces of this ware are known to 
be in existence. John Norton died in 1828. In 
1 83 1, his son Luman, or Judge Norton, as he was 
known, moved to the present village of Benning- 
ton, and built a pottery on the site of the present 
building. It was about the same size and style of 
architecture. Here the business w^as conducted on 



1 8 HISTORY OF THE BENNINGTON POTTERY 



a much larger scale, and they manufactured stone 
ware, yellow ware and Rockingham, which is a yel- 
low ware, spattered before firing, with a brown 
clay, which gives it the mottled appearance. It 
was first made in England at the Swinton Pottery, 
on the Estate of Charles Marquis, of Rocking- 
ham, which gave the name. 

All this was before the days of traveling 
salesmen. The ware was packed into large wagons 
built for the purpose. They had high sides and 
were painted dark green, and in large yellow let- 
ters was printed " Bennington Stone Ware," and in 
much smaller letters " Norton Pottery." It re- 
quired four horses to draw these wagons, and that 
they should be perfectly matched was a subject of 
much pride. These wagons went through New 
England and the ware was sold at the general 
stores. To drive these teams, and sell this Ben- 
nington ware, was considered the best position, for 
young men, that the times afforded. It required 
considerable versatility to be able to handle four 
horses over all sorts of roads, sell the ware, and 
get home safely, with the money. Very little busi- 
ness in those days was done through banks. In 
suitable weather these young men wore silk hats, 
in the style that was appropriate at that time. 
Among the early drivers were Edward Norton, 
Henry Hall (who was Governor Hall's son), 
George Rockwood, and E. L. Nichols. 

In 1839, Judge Norton took his son-in- 
law Christopher Webber Fenton, of Dorset, Ver- 




No. 2. 



HISTORY OF THE BENNINGTON POTTERY 1 9 

mont, into business with him. He had previously 
learned the pottery trade, at a red earthen-ware 
pottery at Dorset, Vermont. Soon after, we find 
the firm, " Norton and Fenton, Bennington, Ver- 
mont " (Mark i,) impressed on the octagonal 
pitchers, of the " single glaze " Rockingham ware. 
This mark also appears on elliptical form, on sim- 
ilar pitchers (Mark 2). 

A few years later, we find the mark "Nor- 
ton and Fenton, East Bennington, Vermont " 
(Mark 3) showing that they had moved to what is 
now the town of Bennington, which was then 
called " Algiers " in derision, by the residents on 
the Hill. 

About 1828, Mr. Fenton married Judge 
Luman Norton's daughter, Louisa, and Judge 
Norton had erected, on Pleasant Street, the large 
and commodious brick mansion, the west side of 
which was occupied by Mr, Luman Norton's 
family, and the east side by that of Mr, Fenton, 
Here, on the adjoining land, was erected the first 
down-town pottery, and it was conducted, for the 
first years of its existence, under the name " Nor- 
ton and Fenton " (Mark 4). 

Christopher Webber Fenton was born in 
Dorset, Vt., in 1806, where he learned his trade 
as a common red-ware potter. No record has been 
found, showing the date when Mr. Fenton went to 
Bennington. Had he done so as soon as he fin- 
ished his apprenticement in Dorset, he might have 
worked for Capt, John Norton one year. At the 



20 HISTORY OF THE BENNINGTON POTTERY 

end of which time, Captain John Norton died, in 
1828. From the dates and ages given in the Nor- 
ton Family Records, it is safe to assume that Mr. 
Fenton first associated himself with Mr. Luman 
Norton, Capt. John Norton's oldest son, succeed- 
ing Captain John Norton in business. 

Later on, the firm became Julius and Ed- 
ward Norton and still later, about 1865, Edward 
and Lyman P. Norton, then Edward Norton and 
Company, when Mr. C. W. Thatcher became a 
partner. 

In 1846, Mr. Fenton wished to go into a 
more decorative line of ware, and Judge Norton 
did not care to, but he offered no objections to the 
younger men making the venture, and in the north 
wing of the Norton Pottery, Mr. Fenton, Julius 
Norton, and Henry Hall started the manufacture 
of Parian Ware. This is a hard porcelain, and 
took, its name from the resemblance to Parian 
marble. They brought John Harrison from Eng- 
land to do their first modeling. 

This partnership lasted but a few years, 
and Mr. Fenton leased from the Nortons the 
north wing of the old Stone Ware Pottery and was 
In business for himself alone, at which time the 
Mark used was " Fenton's Works, Bennington, 
Vermont" (Mark 5). During this period, we 
find the use of this Mark on pieces of various 
bodies, such as Rockingham, Cream Ware, Parian 
Ware, glazed and unglazed, and these, In various 
forms, and many quite elaborately ornamented. 




No. 



HISTORY OF THE BENNINGTON POTTERY 21 

This, evidently, was an experimental 
period with Mr. Fenton and the partnership, with 
the Norton's, having been severed by them, he was 
endeavoring to produce as large a variety of wares 
as possible, in order that he might enlist new 
capital from new partners, which he again suc- 
ceeded in doing, for a partnership was formed 
with Alanson Potter Lyman (a Bennington law- 
yer), the firm name becoming "Lyman and 
Fenton." 

The Norton's relinquished their interest 
in this pottery in 1881, when it was sold to Mr. C. 
W. Thatcher, who now carried on the business, 
under the firm name, " The Edward Norton Co." 
and on whose sign we read, " Established in 
1793." For several years past, no pottery had 
been made here, Mr. Thatcher dealing in western- 
made wares. 

Thus we have a record, covering nearly 
one-hundred years, of the manufacturing and sell- 
ing of Pottery by various members of one branch 
of the Norton Family, at Bennington Center, East 
Bennington, and Bennington, Vermont. 

Captain John Norton and his wife are 
buried near the Congregational Church, in the old 
Cemetery at Bennington. From the Tablet we 
read, " Sacred to the memory of Capt. John Nor- 
ton, who departed this Life August 24th, 1828, 
in the 70th. year of his age." (Plate No. i.) 



22 HISTORY OF THE BENNINGTON POTTERY 

Many pieces of the Norton Pottery are to 
be found now, bearing the Firm names. These are 
invariably, Stone Ware. Capt. John Norton may 
have made Red Wares for a few years, but no 
marked pieces of this have been found. Moreover, 
specimens of Red Ware are seldom seen in Ben- 
nington vicinity, and brick-work was not often 
seen, the local clay being best adapted to the mak- 
ing of Stone Ware. Mrs. W. B. Walker has an 
ink-well and several pieces, which were dug out of 
the ground, at the old Norton Pottery, when the 
men were ploughing. Mrs. L. S. Norton has a jar, 
which Tradition said, was one of the first pieces 
made at the old Norton Pottery, on the farm. 
The Ostrander family in Hoosick, N. Y., have a 
similar piece, on the bottom of which is written, 
"This was made in the old Norton Pottery." 

The earliest settlements in Bennington 
were in that part, long known as Bennington Cen- 
ter and more recently called Old Bennington. It 
was settled in 1761, by the Robinsons, Deweys, 
and other prominent families. From their homes 
went forth v^aliant Christians, under whose leader- 
ship was enacted the memorable event of August 
1 6th, 1777. This event is commemorated by a 
magnificent shaft, three hundred and six feet in 
height, standing at the upper end of Monument 
Avenue, a little more than a mile west of the vil- 
lage. Many of the farms of the early settlers, ex- 
tended to the present limits of the village which 




No. 4. 



HISTORY OF THE BENNINGTON POTTERY 23 

was then known as East Bennington and in deri- 
sion, called "Algiers." 

Among the fine old houses of Bennington 
Center, now standing, the most interesting Is the 
Robinson house, built In 1796. It is still in the 
possession of and occupied by a direct descendant 
of Its builder, Mr. George Robinson. Within are 
still many choice specimens of antique furniture, 
family heir-looms and veritable Revolutionary 
relics. 

The grand old-style mansion which was 
built by Judge Luman Norton, Is also an interest- 
ing house. It was built in 1 838. Mr. Samuel Keyes 
contracted for the masonry at a cost of eight hun- 
dred dollars ($800.00). Later, when Mr. Keyes 
built the kilns for the United States Pottery he 
remarked that each kiln required more bricks than 
did that large mansion which leads us to believe 
that the kilns were large ones for that date. 

There Is conclusive evidence that Mr. 
Fenton was associated with Mr. Norton, In the 
early part of Mr. Fenton's career In Bennington. 
Stone Ware jugs and crocks are often found 
marked " Norton and Fenton, Bennington, Ver- 
mont." There Is a fine large water pitcher, hexago- 
nal in shape, on each panel a floral design, in re- 
lief. This pitcher has a dark brown glaze. Is of 
a cream colored pottery body and bears on the 
under side the Mark " Norton and Fenton, Ben- 
nington, Vermont." This is In the Pitkin Collec- 
tion. A companion pitcher, in circular form bear- 



24 HISTORY OF THE BENNINGTON POTTERY 



ing the same mark, may be seen at Pennsylvania 
Museum. 

So far as has been ascertained the firm 
known as Norton and Fenton made nothing but 
Stone Ware and brown-glazed pottery. 

About 1845, when we find Mr. Fenton 
alone In the business as Is shown by the mark 
** Fenton's Works, Bennington, Vermont " (Mark 
5 ) . It Is found on Rockingham ware, Parian, and 
pottery of a yellow body. 

About this time, in 1845, was produced 
the first Parian ware, made In the United States, 
which was only three years after Its first appear- 
ance In England. 

A Parian pitcher bearing this mark Is In 
the Pitkin Collection, In the Morgan Memorial at 
Hartford, Connecticut. The Rockingham piece, 
In the Pitkin Collection, so marked, is an octagonal 
water-cooler, of yellow body mottled In light 
brown. In the same Collection Is also a beautiful 
sugar bow^l, elaborately decorated with vines and 
flower bearing the same mark. 

We must Infer, that Mr. Fenton was a 
practical potter, of extraordinary skill, well-nigh a 
genius at his trade, artistic In his tastes, a natural- 
ist, something of a chemist, a profound student, 
probably erratic and perhaps visionary. He was 
never content to plod along under moderate suc- 
cess but must needs pull down and build larger, 
thereby exhausting capital and presumably, the 
patience of his partners. On the whole a far bet- 







No. 5. 



HISTORY OF THE BENNINGTON POTTERY 25 

ter potter than financier, as Is evidenced by the fre- 
quent and numerous changes in the partnerships 
of which he was a member. 

Presumably much elated over his success 
shown in his early productions in Parian, Rocking- 
ham and other wares, he was enabled thereby, to 
interest Bennington gentlemen, securing their co- 
operation, as capitalists and formed the partner- 
ship of " Messrs. Christopher Webber Fenton, 
Henry D. Hall and Julius Norton, in 1846." 

They produced yellow, Parian and Rock- 
ingham wares, still occupying a part of the Old 
Stone Ware shop of the Norton's. Mr. Hall re- 
mained in the firm only a short time. Next, Mr. 
Norton withdrew. The firm then became " Lyman 
and Fenton," with the admission of Mr. Alanson 
Potter Lyman, a prominent lawyer of Bennington. 

Soon after this, Mr. Calvin Park took an 
interest and the firm name was known as " Lyman, 
Fenton and Park." Mr. Park remained a partner 
but a short time. 

During this period, November 27th, 1849, 
Mr. Fenton obtained from the United States Gov- 
ernment, the Patent for the process of applying 
colors to the flint-enamelled wares. 



26 HISTORY OF THE BENNINGTON POTTERY 



United States Patent Office. 

C. W. Fenton of Bennington, Vermont. 
IMPROVEMENT IN GLAZING POTTERY- 
WARE. 

Specification forming part of Letters Patent No. 
6,907, dated November 27, 1849. 

To all whom it may concern: 

Be it known that I, Christopher W. Fen- 
ton of Bennington, in the county of Bennington 
and State of Vermont, have invented a new and 
useful improvement in the application of colors 
and glazes to all articles made of potters' materials 
— such as crockery, earthern, and stone ware, 
signs and door-plates and Icnobs, picture-frames 
and architectural ornaments; and I hereby declare 
that the following is a full and true description 
thereof. 

The article to be colored and glazed, be- 
ing in the usual state for applying the glaze, is 
immersed in a transparent under-glaze, then with 
a small box perforated with holes the colors are 
thrown or sprinkled on through the holes over the 
surface of the article in quantity to produce deeper 
or lighter shades, as may be desired, leaving a part 
of the surface for the body of the article to show 
through in spots. By fusion in the kiln the colors 




No. 6. 



HISTORY OF THE BENNINGTON POTTERY 27 

flow and mingle with the under glaze, and are 
carried about over the surface In various forms, 
and the article is thereby made to present a close 
imitation of the richest shells, varigated stones, or 
melting and running fluid, almost every variety of 
rich and beautiful appearance being produced by 
flowing and mingling of the colors with the under- 
glaze, and the appearance of the article being 
varied according to the complexion of the body of 
the article and the colors and quantity thrown 
upon It. 

The colors may be applied to the article 
by other means than that of the perforated box, 
provided the same effect is produced. What I 
claim as my Invention, and desire to secure by 
Letters Patent, is — 

The coloring of the glaze of pottery-ware 
by the means substantially as herein set forth and 
described. 

C. W. Fenton. 

Witnesses : 

A. P. Lyman 
L. Norton. 

Note particularly, that the fore-going 
Patent covered only the coloring process, and not 
the composition of the flint-enamelled glaze, which 
had previously been made by Mr. Fenton and co- 
temporaneous potters, among them the Bennett 
Brothers of Baltimore, F. Bagnall Beach of Phila- 
delphia and others of lesser note. 



28 HISTORY OF THE BENNINGTON POTTERY 

The mark used at this time was " Lyman 
Fenton and Company, Fenton's Enamel. Pat- 
ented, 1849. Bennington, Vermont " (Mark No. 
6). The use of this Mark was continued for sev- 
eral years on the best examples of Rockingham 
ware. 

Shortly after this, another change of part- 
nership occurred, when the United States Pottery 
was formed. They occupied the building directly 
across the small stream from the Norton Stone 
Ware Works. Here was erected, what, for those 
days, was a very large establishment having six 
kilns. These kilns were built by Sam.uel Keyes a 
brick mason, who in previous years, did the 
masonry work on the double brick mansion of the 
Nortons, before mentioned, and Mr. Anson 
Peeler, a master carpenter, erected the large and 
suitable buildings, on the north bank of the small 
tributary of the Walloomsac river, across the 
stream from the Norton works. The reorganized 
firm took the name of the " United States Pot- 
tery." Among the several capitalists interested in 
this venture were Messrs. Lyman, Fenton, Park, 
Gager, Dr. Hollis and others. Finer wares were 
attempted, elaborately decorated Parian, white 
granite and a small quantity of soft paste porce- 
lain. The factory mark used at this period, was 
" The United States Pottery " in three designs. 
(Mark No. 7.) 

Mr. Fenton was a skilled craftsman, who 
had learned the finer elements of the potter's trade. 




No. 7. 



HISTORY OF THE BENNINGTON POTTERY 29 

He, it was, who discovered in Vermont the fine 
kaolin day and the minerals which were used in 
making the various wares. Mr. Fenton took out a 
Patent for flint enamelled ware, which was an im- 
provement on the Rockingham, in its durability 
and the great variety of its coloring. It was plain, 
mottled and striped, the latter, sometimes being 
called " scrodled " or " lava." There Is an exam- 
ple of this ware In the Pitkin Collection which is 
a tulip shaped vase in cream color with brown 
markings. (Plate No. 14.) 

Workmen were sent for, from the Stafford- 
shire district, England, from Belgium and Ger- 
many, and many of the natives of Bennington, 
here, learned and applied their trade. The pay- 
roll, at one time amounted to Six thousand dollars 
a week, and about one hundred men were em- 
ployed. 

Theophile Fry, who came either from 
France or Belgium, and Daniel Greatbach were 
the principal artists and designers. Greatbach was 
an Englishman, who had worked for the Jersey 
City Pottery and his name is always connected with 
the hound-handled pitchers (Plate No. 8) which 
he modelled first, for that pottery. In 1850, when 
he joined the United States Pottery, he altered 
that and other designs which he had made at the 
Jersey City Pottery and reproduced them at Ben- 
nington. The hound handle pitcher of this period 
is the finest and much superior even to the later 
one, reproduced by him at Trenton. A spirited 



30 HISTORY OF THE BENNINGTON POTTERY 

deer hunt in relief was represented on one side and 
a boar hunt on the other, while a grape vine 
covered the neck and shoulder. It was in three 
sizes, usually in brown. 

Daniel Greatbach came of a family of 
potters, and is said to have worked for the Ridg- 
ways in England, before coming to America. The 
idea of using a dog for a handle was not original 
with him, for it had been done at Brampton in 
Derby-shire, many years previously, and the Doul- 
tons also produced large stone ware mugs, with 
three hound handles. The Bennington pitchers 
differ from the Jersey City, in having the head of 
the hound free from the paws, and the vine is 
heavier on the former (Old China, pp. 95-6). 
When the United States Pottery closed, Greatbach 
went to South Carolina and then to Peoria, 111., 
when he sold the mould for his jug. It is now in 
the possession of the Vance Faience Co., who have 
issued a few copies which bear their name. 

Among the potters who came from the 
Staffordshire district, may be mentioned Daniel 
Greatbach, the chief modeller, who came to Ben- 
nington from the Jersey City Pottery, William 
Leake and his brother Charles Leake, who were 
both pressers, John Leigh, and Enoch Barber, who 
were both mold-makers, Joseph and Henry Law- 
ton, and John Harrison, a modeller. 

Notes on the Worlcmen have been fur- 
nished by Mr. W. G. Leake of Bennington, as 
follows: " From Staffordshire, William Hollins, 




No. 8. 



HISTORY OF THE BENNINGTON POTTERY 3 1 

presser, William McLea *' jigger-man," Thomas 
Piatt, kiln-placer, James Caldwell, slip-maker, and 
his brother John, clay-maker, John Caldwell, Jr., 
thrower, John Sedman, presser, William Sea- 
bridge, kiln-placer, and Dick Moon, kiln-placer. 
The two Leakes went to Trenton, N. J., to 
Phoenixville, Penn., about 1878, then to Eliza- 
beth, N. J., with L. B. Beerbower and Co., and 
they were the " Company." They sold out about 
1887. At Elizabeth, New Jersey, they had the 
•' Old John Pruden Red Ware Pottery." The- 
ophile Fry, the chief decorator, was from Belgium. 
Mr. William G. Leake's grandfather, was a color 
maker for the Ridgways, at Staffordshire, Eng- 
land. William Burtleman was from Germany. 
Stephen Theiss was from Germany." 

Mr. Leake, Sr., Enoch Moore and John 
Leigh went to West Troy and had a Stone Ware 
Pottery. Mr. Leake returned to Bennington 
about 1 86 1, and made Rockingham Ware in the 
north end of the Stone Ware Pottery, for about 
three years. 

Other names from Staffordshire furnished 
by Mr. Leake were Joseph Alsop, kiln-placer, 
John Molds, kiln-placer, John and William Cart- 
wright, Joseph Tunicliff, turner, Enoch Lear, 
thrower, James Baker, turner, John Burglin, ware- 
house man, William Wray, turner, Leonard Wray, 
presser, William Umpleby, presser, William 
Anderson, kiln-placer, William Owens, kiln-placer, 
William Maddock, presser. Mr. Leake, sr., 
3 



32 HISTORY OF THE BENNINGTON POTTERY 

worked for Adam Carey, at Poughkeepsie, N. Y., 
before he came to Bennington. Mr. William G. 
Leake was born in 1848. At ten years of age he 
was in the Bennington Pottery, where his father, 
William Leake, worked. William L. Leake and 
his brother Charles, were pressers. William G. 
Leake's uncle, John Leigh and Enoch Barber were 
both from Staffordshire. Samuel and James 
McDougal were from Glasgow. (Mr. W. G. 
Leake.) 

Among the native workmen were Enoch 
Moore, foreman, Decius Clarke, superintend- 
ent, William Moore, Henry Moore, Byron Sib- 
ley, William Wells, Rufus Godfrey, Thomas 
Hutchins, Daniel and Patrick McGuire, Thomas 
Cullien, Augustus Danforth, Dr. Wilcox, press- 
man, Charles and Dwight Riddle, John Keough, 
Charles Sanford, charge of the finished Ware. 

Mr. Henry S. Gates of Chicago furnishes 
the following data : — 

" Stephen Theis was bom in Mons, Bel- 
gium, in the year 1824. He learned the potter's 
trade in Europe, and worked in all its branches 
from the milling of the clay, to the drawing of 
the kiln. He also designed and modelled many 
pieces, before he came to America, which was in 
1847 oi" 48- He went to Bennington to work in 
the United States Pottery about 1850, and he was 
employed there until it closed when he went to 
West Troy to work. Later on, a Stock Company, 
under the Leadership of Mr. Decius Clark started 




No. 9. 



HISTORY OF THE BENNINGTON POTTERY 33 

the manufacture of Rockingham and yellow ware, 
In a part of the old United States Pottery building 
when Mr. Theiss returned to Bennington, and was 
in their employ as long as they continued the busi- 
ness. Afterward, he went to South Amboy to 
work. In 1866, he went to Worcester, Mass., to 
work for the firm of " Norton and Hancock " 
both, formerly, Bennington men. For several 
years before his death, he was foreman in the J. 
J. Jeffords Pottery In Philadelphia. 

" Mr. Theiss married the sister of Mr. 
Henry S. Gates of Chicago and she is living in 
Clementon, N. J. She is an Invalid and is seventy- 
nine years old. 

" Theophilus Fry was a Frenchman and an 
expert decorator. He worked at the United States 
Pottery until it closed when he went to Trenton, 
N.J. 

" Daniel Greatbach was inclined to be a 
recluse. He had a room, on the second floor where 
he designed and cast the molds. This room was 
private and but few went Into it. He was about 
sixty years old and weighed about two hundred 
and forty pounds. He had long hair that came to 
his shoulders and he was troubled with granulated 
lids." 

Quite a number of girls worked In the 
pottery at the ' treading wheel ' for the ' throwers ' 
and helped ' stack up ' finished ware in the packing 
room. They also examined the finished ware for 
defects. John Harrison came from England, to 
do the first modelling for the Parian ware. 



34 HISTORY OF THE BENNINGTON POTTERY 

Through Mr. Fenton's influence, Mr. D. 
W. Clark, Superintendent and Mr. E. Moore 
went to Kaolin. Dr. Wilcox also went with Mr. 
Clark and Albert Cushman, in December, 1858. 
Messrs. Fenton and Clark went from Kaolin to 
Peoria, 111. Messrs. Hutchins, Sibley, Keough, 
and Godfrey tried to start up the United States 
Pottery again. 

Calvin Park married Fanny Fenton, 
daughter of Mr. Fenton's first wife, who was a 
daughter of Luman Norton. Mr. Fenton's first 
wife died, and by his second wife he had a daugh- 
ter, Louise Anna, whom her half-sister Mrs. Park 
adopted. Louise Anna Fenton married Major 
Henry D. Fillmore, whose daughter, Fanny Fen- 
ton Fillmore married Mr. Ralph H. White of 
North Bennington, Vermont. 

In 1853 th^ works at Bennington were in 
a flourishing condition and over one hundred men 
were employed there. The Pottery's headquarters 
were in Boston but there were few ' China Shops ' 
in those days and the distribution was largely made 
by peddlers traveling from door to door in both 
city and country, who sold these new ornamental 
wares and figures of lions, cows, dogs, deer, etc., 
etc. (Plate Nos. 9, 10, 11, 12.) 

Among many other forms were the book 
bottles lettered " Departed Spirits," or " the 
Battle of Bennington " Tobies, tulip-shaped vases, 
candle-sticks, pitchers, tea-sets and " coachman " 
bottles all in the Rockingham or flint-enamelled 
glazes. 




No. lo. 



HISTORY OF THE BENNINGTON POTTERY 35 

It is often difficult to distinguish between 
Bennington and tlie similar wares made at other 
factories, but the marked examples help the col- 
lector in his comparisons and judgment. 

Parian was an unglazed porcelain sup- 
posed to imitate Parian marble. It was moulded 
with elaborate floral designs in relief. Besides 
pitchers and vases a few statuettes were produced 
for mantle ornament, such as the Praying Child in 
the Pitkin Collection. (Plate No. 15.) Much of 
the Parian had a blue pitted ground against which 
the white reliefs stood out sharply. It is said that 
each indentation in this pitting was punched sepa- 
rately. The mould made from the model had 
small projecting points which were covered wth 
blue slip by means of a brush. When the white 
clay was poured in a mould it took up the blue 
from the points leaving the relief design in white. 
(Plate No. 13.) When not too thick Parian is 
translucent. Many of the ornamental forms have 
much delicacy of modelling and a velvety surface 
probably obtained by coating the interior of the 
seggars in which they were fired with glaze which 
vaporized with the heat, gave the ware a glossy 
finish. Only those pieces intended to hold liquids 
were actually glazed and then it was on the inside. 

In a very interesting paper, written by 
Mrs. C. H. Emmons of Bennington, on the Ben- 
nington Pottery which was read before the local 
chapter of the " Daughters of the American Revo- 
lution " she states that " the United States Pottery 



36 HISTORY OF THE BENNINGTON POTTERY 

extended across what is now School Street to a 
point a little east of the North Street Bridge where 
the Walloomsac River and the little brook came 
together. I am told that the first bridge across 
the river at North street was a covered bridge. 
What is called School Street and the land to the 
point were piled high with slabs and it required 
what is described as a small army of men, to draw 
these slabs down from the mountains and work 
them into suitable lengths for firing the six kilns. 
The first bridge on Pottery Street was built for the 
accommodation of this pottery. 

Between 1850 and i860, the pottery indus- 
tries were said to be the largest in the town em- 
ploying three hundred men; but this number un- 
doubtedly included the men working in wood yards 
and barns, as well as the turners, molders and all 
inside workers. 

The United States Pottery went out of ex- 
istence in i860, the potters going to Trenton, N. 
J., Ohio, Illinois and a few to Kaolin, S. C. In 
1870 the old building was torn down to make way 
for the present graded school building. Many of 
the old molds and patterns were stored in the old 
Norton Pottery and the men were allowed to use 
them from time to time, which accounts for the 
many pieces lacking the fine lustre and coloring. 

At the United States Pottery, Bennington, 
Vermont, experiments were made with inlaid tiles 
in 1853 and a sufficient number were produced to 
cover a floor space of seven feet square underly- 




No. II. 



HISTORY OF THE BENNINGTON POTTERY 37 

ing the exhibit of this factory at the Crystal Palace 
Exhibition which was held in New York that year 
(1853). These tiles were about ten Inches square 
and made by wet clay process. The body was 
white inlaid with variegated colors the designs con- 
sisting of ornamental centerpiece and border with 
the American flag in each comer. It is not known 
what disposition was made of this tile floor, after 
the Exhibition, and it seems that the difficulties en- 
countered in making these examples deterred the 
Company from continuing further experiments in 
this direction. (Dr. E. A. Barber.) 

It required four years to master the Pot- 
ter's trade. First, the shaping of the lump of clay 
on the wheel. Then came the free-hand decora- 
tion, the process of firing, setting and drawing the 
kiln, required great care. The Salt-glaze was pro- 
duced by throwing salt on the ware, in the kiln, 
shortly before the kiln was drawn or opened. This 
vaporized and penetrated every crack and crevice. 
The ware remained in the kiln about forty-eight 
hours. 

On a wild winter's night in 1873, the Nor- 
ton Pottery took fire from an over heated kiln and 
burned to the ground. The molds and patterns 
were a loss which could never be replaced and pre- 
vented the possibility of ever returning to the 
manufacture of the old line of ware. 

A characteristic feature of the Norton Pot- 
tery was the length of time that men remained 
with the Company. Two hundred and fifty years 



38 HISTORY OF THE BENNINGTON POTTERY 

is the combined number of years that six men made 
stone ware. Four of them are now living. C. C. 
Kimball, John Norton, Frederic Godfrey, and 
Frank Greenslet. The two who have died are 
James Williams and Jerome Johnson. 

Frank Norton, brother of Edward Nor- 
ton, with Frederic Hancock were also practical 
potters with the firm. They went, about 1858, 
to Worcester, Mass., where they started a pottery 
which had a good out-put for many years. 

" Fenton's Enamel " or " Flint Enamel " 
(Plate Nos. 4, 5, 6, 7), as it was called is found in 
many varieties or combinations of color: — black 
and yellow mottled, olive green and yellow, com- 
binations of greens, browns, yellows, dark red and 
blue, the blue but sparingly used. JSFo richer 
colored, more brilliant, more durable glaze was 
ever applied to a bit of Rockingham ware, than 
appears on the best specimens produced by this 
firm in great variety of colors, forms and sizes and 
bearing their mark. 

The Parian ware they made in large quan- 
tities and great variety of articles, useful and orna- 
mental. We find that they also made white wares 
called "White granite" (Plate No. 2), princi- 
pally in white toilet sets, but occasionally in other 
articles, such as mantel ornaments. 

The "scrodled" or "lava" ware (Plate 
No. 14) manufactured here, was similar to the 
English agate ware. It seems not to have enjoyed 




No. 12. 



HISTORY OF THE BENNINGTON POTTERY 39 

■ — 

great popularity or was too expensive or difficult 
of production, as we seldom meet with a specimen. 
In fact, it is the rarest of all this great factory's 
great out-put. In making it, different colored 
bodies were mixed with layers of white clay by 
partial *' wedging." When finished the article had 
a marbled or veined appearance which ran through 
the body. 

Porcelain, both hard and soft paste, was 
made at this factory, but in small amounts with 
only partial success. 

A variety of clays were used in the manu- 
facture of the ware : some coming from Long 
Island, New Jersey, some from South Carolina ; 
and a large amount as ballast in ships from abroad, 
it being as cheap to import it in this way as to 
bring it from New Jersey. Blue or " ball clay " 
came from Woodbridge, N. J. The Stone Ware 
had a clay from South Amboy, N. J., from the 
" Morgan Clay Banks " as they were called. The 
Parian ware was costly and was always modelled 
with great care. The pitchers and vases had raised 
white figures on a blue, gray, or white background. 
There were a few poodles made in the Parian 
ware, also cows, white tobys and hound-handled 
pitchers. Parian ware was made by pressing also 
by casting. 

The " Flint enamelled " ware (Plates No. 
4» 5j 6, 7, 8, 9, 10, 11), for which Mr. Fenton 
took out a patent, was similar to Rockingham, but 
harder and more brilliant in appearance, and was 



40 HISTORY OF THE BENNINGTON POTTERY 

made In three colors, black mottled with yellow, 
olive and yellow, brown and yellow, with red, blue 
and green mixed. 

The largest piece of Bennington ware in 
existence is the monumental piece, ten feet in 
height which stands on the piazza between the 
homes of Mrs. W. B. Walker and Henry Fill- 
more, Pleasant Street, Bennington, Vennont. This 
monumental piece was displayed at the Crystal 
Palace in New York in 1853. It is composed of 
four kinds of ware. The base is the lava ware, the 
second section, the flint enamel. Above this is a 
life size bust of Mr. Fenton, surrounded by eight 
Rockingham columns and the whole surmounted 
by the Parian figure of a woman. Dr. E. A. Bar- 
ber in his book on Pottery and Porcelain (page 
170) states "This work is said to have been de- 
signed by Mr. Fenton but modelled by Greatbach 
and was placed on exhibition at the New York 
Crystal Palace, in 1853. It now stands on the 
porch of Mr. Fenton's former residence in Ben- 
nington, a monument to his enterprise and genius." 
(Plate No. 16.) 

Horace Greeley, in the New York Tribune, 
under an article called "Art and Industry at Crys- 
tal Palace " gave a long description of the Fenton 
or United States Pottery display. He said 
" around this monumental piece are grouped table 
and scale standards, Corinthian capitals, figures, 
vases, urns, toilet sets, and a great variety of other 
specimens of porcelain plain and inlaid." He also 




No. 13. 



HISTORY OF THE BENNINGTON POTTERY 4 1 

mentions telegraph insulators in white flint and 
says " This material is one of the best electro 
non-conductors that can be found and has been 
employed on the telegraphs in the vicinity of 
Boston." 

' Under the flint enamel ware he speaks of 
pitchers, candle-sticks, teapots, picture frames, 
doorplates, door and curtain knobs, and escutch- 
eons. He described the Parian ware as remark- 
ably fine, especially in the form of pitchers. They 
are light in material and graceful in outline and of 
two tints, one fawn-colored from the presence of 
a little oxide of Iron, and the other, white, from its 
absence. These are made of the flint from Ver- 
mont and Massachusetts, the feldspar from New 
Hampshire, and the china-clay from Vermont and 
South Carolina. This Company has the credit of 
first producing Parian ware on this continent. 

Silllman and Goodrich's " New York Ex- 
hibition of 1853 " published by George P. Put- 
nam, also describe this ware. 

The first attraction of the United States 
Pottery ware, is its quaintness. The pieces were 
carefully modelled, more so than most of the 
products of other potteries of that period. The 
glaze was more uniform, brilliant and evenly ap- 
plied and had a rich velvety sheen. 

Walter A. Dyer says: " It requires a cer- 
tain sort of genius to design such fierce lions, such 
motherly cows, such jolly tobies." 



42 HISTORY OF THE BENNINGTON POTTERY 



A collection of Bennington ware was 
shown at the American Exposition in 1901 and 
since that time it has steadily gained in popularity. 

Today, in the Rockingham ware, pitchers, 
mantle ornaments and flasks are much sought for. 
Many flasks are in the form of books and bear 
such titles as " Departed Spirits " " Vanished 
Spirits " and others. Popular among the figures 
was a lion (Plate No. 9) with its fore-paw resting 
on a ball, and a poodle carrying a basket in its 
mouth (Plate No. 12). Among the pitchers the 
most valuable are the Greatbach " hound- 
handled." 

Rockingham ware was made mottled, by 
splashing on glaze with a paddle. The Rocking- 
ham glaze contained lead spar, flint and manga- 
nese. 

The pottery business was in the Norton 
family from 1793 to 1894 and during that time 
six Norton men were members of the firm, John, 
Luman, Julius, Edward, Luman P. and Edward L. 
Norton. The business card used on their One 
Hundredth Anniversary read, " We start now on 
our Second Century, and would ask for a con- 
tinuance of your favors for the next One Hundred 
Years. Edward Norton and Co." 

The history of the two Bennington Pot- 
teries is confused by most of those who have 
talked or written on the subject. The Norton 
Pottery stands for length of years and an out-put 
of a substantial and largely utilitarian character. 







No. 14. 



HISTORY OF THE BENNINGTON POTTERY 43 

The United States Pottery was in existence but a 
few years but in that time produced much of artis- 
tic merit and many pieces of great beauty. 

In studying the Bennington Pottery, and 
its various wares, I have endeavored to acquaint 
myself with all the different patterns used there. 
The majority of these are represented by speci- 
mens in my Collection in the Pottery Room of the 
Morgan Memorial, Wadsworth Atheneum, Hart- 
ford, Connecticut. It may be observed that the 
same patterns and sizes were used to produce speci- 
mens in more than ou?. kind of ware. 

The following Lists are intended to assist 
the Collector. Let me warn such, that much 
American Rockingham Ware and foreign Parian 
Ware, is offered on the market as Bennington, that 
never came from Bennington. 

Lists. 
Stone JVare. 

Churns, 

Crocks, — various sizes, 

Jugs — various sizes. 

Water coolers. 

Pitchers — various forms and sizes 

Sugar bowl. 

Rockingham Ware (not flint enamelled). 

Various cooking utensils, such as pipkins, shal- 
low dishes, cake molds, pie-plates, 
Pitchers — various forms and sizes, 



44 HISTORY OF THE BENNINGTON POTTERY 

Jars — various forms and sizes, 

Water cooler, 

Globular vases. 

Cow creamer, 

Cuspidors, 

Flower-pots, 

Drinking cup, 

Soap dish, round, 

Dog handled pitcher. 

Rockingham, Flint Enamelled. 
Lion on base, facing right, 
Lion on base, facing left, 
Lion (no base), facing left. 
Lion (no base), facing right. 
Poodle dog, facing right. 
Poodle dog, facing left, 
Deer recumbent on base. 
Cow, 

Spaniel dog recumbent on base. Paper weight. 
Vases, tulip leaved, tall. 
Vases, tulip leaved, short. 
Books, small, medium and large. 
Money bank, figure of a woman, 
Foot warmer, 
Tile rest, for fire set. 
Door plates, straight sides and rococo. 
Picture frames, oval and square, and rococo. 
Drinking cup, tumbler shaped, 
Drinking cup, goblet shaped. 
Drinking cup, goblet shaped with a handle. 




No. 15. 



HISTORY OF THE BENNINGTON POTTERY 45 

Hound handle pitcher, 

Hunting scene pitcher, 

Wash bowl and pitcher, octagonal. 

Wash bowl and pitcher, round. 

Wash bowl and pitcher, reeded. 

Soap dish, 

Door knobs, various sizes. 

Curtain knobs. 

Match box, 

Slop jar. 

Foot-bath, 

Jardinieres, 

Cuspidors — various sizes and patterns. 

Water cooler, 

Tea-pot, 

Coffee-pot, 

Sugar bowl. 

Creamer, 

Spoon-holder, 

Toby, handle, a man's leg, 

Toby, a man seated, 

Toby bottle, man in cloak, monk, 

Toby bottle, man in cloak, with higher hat, 

curly hair, coachman, 
Toby bottle, man astride a cask, 
Bottle, flask, drinking scene. 
Tooth-brush holder, 
Toby tobacco jar. 
Lamp standards, 
Candle sticks, tall. 
Candle sticks, short, 



46 HISTORY OF THE BENNINGTON POTTERY 



Candle sticks, with saucer loop handle, 

Pipkins, 

Toilet set, complete, 

Brackets. 

Parian. 

Pitcher, Water Lily, 

Pitcher, Knight, 

Pitcher, Wild Rose Niagara, 

Pitcher, Palm Tree, 

Pitcher, Ivy Leaf, 

Sugar bowl, 

Dog and Kennel, 

Door-plate, 

Knobs, 

Escutcheons, 

Figure, " Samuel," 

Figure, Sheep, 

Figure, Ram, 

Figure, Bird's Nest, 

Figure, Girl lacing her shoe, 

Figure, Eagle and Child, 

Figure, Bust of Fenton, 

Figure, Greyhound, 

Figure, Poodle Dog, Right and Left, 

Vase, Calvin Park, 

Vase, cylindrical. 

Swan, 

Cane Head, 

Letters for Door Plates, 

Syrup Jugs, 

Phrenological Head. 




No. i6. 



HISTORY OF THE BENNINGTON POTTERY 47 

Granite Ware. 
Toilet Set, 
Escutcheons, 
Foot-Bath, 

Water Pitchers — various sizes, 
Cow creamer. 
Swan, 

Globular Vase, 
Cuspidores, 
Toby Bottle. 

Scrodled. 

Vase, Tulip leaved, 
Wash bowl and pitcher. 
Monument Base, 
Tooth Brush Dish, 
Soap dish. 
Cuspidors. 

Marbled. 

Parts of a Toilet Set. 







^««*M!t^ 



No. 17 



Albert 2faBtut50 Pttkut QJoU^rttntt 



nf 



in 

(Hil^ morgan iH^morlal 
^wciforh, (HatmsttUnt 

be 

Mtshnltk 3. UUUamann 
Mmttcluir, Nrtn Krrarg 



of tljf 

Albert IfaBttttgB JPilktn (Eolbrtum of tl|f 

Sg 3ffr?bfrtrk 31. UtlltawHon 
iMnntrlair. N^m Sprang 

No. I. White Parian Pitcher, Bennington, Vt. 
Daisy pattern. Glazed outside and 
inside. Branch handle. Height 5^ 
inches. Mark: " Fenton's Works, 
Bennington, Vt." Medallion. Rare 
mark. 

No. 2. Parian Pitcher, Bennington, Vt. White 
pond lily on blue pitted back-ground. 
Glazed interior. Height 7>4 inches. 
" United States Pottery " Ribbon 
Mark. 

No. 3. White Parian Door Plate, ornamented 
with scroll and with opening in cen- 
ter, for the insertion of owner's 
name. Never marked. 



52 HISTORY OF THE BENNINGTON POTTERY 

No. 4. Parian Pitcher. Deep grey pitted body. 
Ornamentation of boy carrying 
small child across the stream. Height 
9 inches. Mark: "United States 
Pottery " Ribbon mark. 

No. 5. White Porcelain Pitcher. Height 6 inches. 
Peculiar shape caused by placing in 
kiln before sufficiently dry. No 
mark. 

No. 6. Parian Pitcher. Grey ground, pond lily 
pattern. Glazed inside. Height 
7^ inches. "United States Pot- 
tery " Ribbon Mark. 

No. 7. Parian Pitcher. Blue pitted back-ground. 
Design acorn and leaves. Spout 
formed as a trunk of a tree. Branch 
handle. " United States Pottery " 
Ribbon Mark. 

No. 8. Small Figure, Parian. Girl lacing her 
shoe. Height 2H inches. Never 
marked. 

No. 9. Sheep, small Parian on oval base. Un- 
marked. " Cold-slaw " ornamenta- 
tion. 

No. 10. Recumbent sheep resting against tree- 
trunk. On oval base. " Cold-slaw " 
ornamentation. 

No. II. White Parian Ornament. Swan. Height 
Syi inches; width 5^ inches. 



HISTORY OF THE BENNINGTON POTTERY 53 

No. 12. White Parian Bird on side of nest. Nest 
contains three eggs. 

No. 13. Large white Parian Escutcheon. Pear 
shaped, 3^^ inches in width by 4^ 
inches in height. 

No. 14. Parian Ink-well, unglazed. Child reclin- 
ing against the back-ground of a 
rock. Top surmounted by a spread 
eagle. 

No. 15. Parian Sheep reclining on oval base. 
Glazed. " Cold-slaw " pattern. 

No. 16. White Parian reclining grey-hound. Un- 
glazed. Rests on cushion-shaped 
base, with tassels at the four corners. 

No. 17. White glazed Parian Syrup Pitcher. Ivy 
leaf design. Height 7 inches. 
Glazed inside and outside. " United 
States Pottery" Medalhon Mark. 

No. 18. Parian Drum-shaped Vase, on blue 
pitted back-ground. Design Acan- 
thus leaves. Height 5 inches. 

No. 19. Small Parian Syrup Jug. Pewter lid. 
Design of rose on white pitted back- 
ground. Glazed inside, un-glazed 
outside. " United States Pottery " 
Ribbon Mark. 



54 HISTORY OF THE BENNINGTON POTTERY 

No. 20. White Parian Syrup Jug. Glazed inside. 
Un-glazed outside. White design 
of palms on white pitted back- 
ground. Height 75^ inches. Pew- 
ter lidded. "United States Pottery " 
Ribbon Mark. 

No. 21. Parian Pitcher. Design of oak leaves 
and acorns in white on blue pitted 
back-ground. Glazed inside and out- 
side. Branch handle. Lip forms 
the trunk of a tree. Similar to No. 
7. Larger size. Height 9 inches. 
" United States Pottery " Ribbon 
Mark. 

No. 22. Parian Ink-stand in form of phrenologi- 
cal head, bumps and marks divided 
by blue lines. A very late piece. 
1863. 

No. 23. Small white Granite Pitcher. Decora- 
tions of roses and scrolls in heavy 
gold on white body. Height 2H 
inches. 

No. 24. Parian Syrup Pitcher. Palm design In 
white on a chocolate pitted back- 
ground. " United States Pottery " 
Ribbon Mark. 

No. 25. Syrup Jug. Palm design in white on 
deep chocolate pitted back-ground. 
Heavily glazed outside as well as 
inside. 



HISTORY OF THE BENNINGTON POTTERY 55 

No. 26. " Scrodled " Vase with scalloped top. 
Height 9 inches. A most unusual 
piece in scrodle ware. 

No. 27. " Scrodled " Cow Creamer. Rare piece. 

No. 28. Cream ware Pitcher, leaf pattern. 
Branch handle. Height 9^ inches. 

No. 29. " Scrodled " Pitcher. Tulip pattern. 
Height 8J4 inches. Mark: Oval U. 
S. Pottery Mark. Impressed. 

No. 30. " Scrodled " Tall Flower Vase or Celery 
Goblet. Height 9 Inches. 

No. 31. Sugar Bowl. Grey Parian, heavily glazed 
inside and out. Daisy pattern 
with Medallion Mark: " Fenton's 
Works, Bennington, Vt." 

No. 32. Cream Ware Pitcher, with smeared 
glaze of Milky Ware. No mark. 
Height 6}i Inches. 

No. 33. Parian Pitcher. Water-lily pattern. 
Glazed Interior, un-glazed exterior. 
White with pitted back-ground. 
Height 9>4 inches. " U. S. Pot- 
tery " Ribbon Mark. 

No. 34. Three Porcelain Letters, "A.," " H.," 
" P.," for attaching to Bennington 
door-plates. 



56 HISTORY OF THE BENNINGTON POTTERY 

No. 35. Large white Parian Figure of a Child at 
Prayer. KneeHng on square base in 
form of cushion with tassels on four 
corners. Glazed. 

No. 36. White Parian Pitcher. " Sunflower 
pattern " on pitted back-ground. 
Glazed interior, un-glazed exterior. 
Height 8 inches. " U. S. Pottery " 
Ribbon Mark. 

No. 37. White Parian Poodle Dog. Basket of 
fruit in mouth. " Cold-slaw " mane 
and tip of tail. Extremely rare in 
Parian ware. 

No. 38. White Parian Pitcher. Rose design. 
Branch handle. Lip formed as trunk 
of tree. Height 95^ inches. Medal- 
lion Mark " Fenton's Works, Ben- 
nington, Vt." 

No. 39. White Vase. Height 5^ inches. Flar- 
ing at top. Banded alternate lines 
of gold and plum color. 

No. 40. The " Niagara or Water-Fall " Pitcher. 
White Parian. Glazed interior. 
Un-glazed exterior. First Parian 
Ware made in the United States in 
1846. "United States Pottery" 
MedalHon Mark. 



HISTORY OF THE BENNINGTON POTTERY 57 

No. 41. Granite Ware Water Pitcher. Dark 
blue under glaze decoration of 
grapes and grape-vines. Also, heav- 
ily gilded roses in panel and on re- 
verse the name " W. C, Morey from 
H. A. W. " all in heavy gold 9 
inches high. 

No. 42. Granite Ware Pitcher. Heavy gilt deco- 
ration. Roses in panel. On the re- 
verse " Mrs. Mary A. Harwood " 
in heavy gold. 

No. 43. White Parian Vase. Heavily crackled. 
Height 6 inches. 

No. 44. Small Vase or Paper-holder. Circular. 
Height 4^4 inches. Decoration blue 
and gold bands. 

No. 45. White Granite Ware. Toby bottle 
from the Dewey Homestead, Ben- 
nington Center, Vermont. Heavily 
glazed and crackled. Height 11^ 
inches. 

No. 46. Flint Enamel Chamber Candle-stick on 
circular base. 5^ inches in diameter 
2% inches in height. Flecked with 
rare blue color. 

No. 47. Flint Enamel Toby Bottle, 10 inches in 
height. Broad brimmed hat. 1849 
Mark. 



58 HISTORY OF THE BENNINGTON POTTERY 

No. 48. Flint Enameled Match-box. Mottled 
and streaked. Brown glaze. Low 
crowned hat forms the cover. 1849 
Mark. 

No. 49. Candle-stick, flint enamel. Height 6^ 
inches. With rare orange, blue and 
olive flecks of color. Tubular form 
on spreading circular base. 

No. 50. Bennington Flint Enamel Lion on base. 
Smooth mane. Beautifully colored 
olive green and brown shades. 1849 
Mark. 

No. 51. Flint Enamel Paper Weight. Small 
poodle dog reclining on cushion- 
shaped base. Brown in color. 1849 
Mark. 

No. 52. Candle-stick. Flint enamel. Tubular 
form on spreading circular base with 
mahogany, blue and green tints. 

No. 53. Pair of Flint Enamel Shelf Supports 
or Brackets in beautifully mottled 
olive green color. Formed in scrolls 
10 inches in depth by 5^ in breadth. 

No. 54. Cow Creamer. Deep mahogany color. 
Flint enamel. 

No. SS' Toby Bottle. Flint Enamel. Mahogany 
color. Wide brimmed hat. 10^ 
inches in height. 1849 Mark. 



HISTORY OF THE BENNINGTON POTTERY 59 

No. s^' Poodle Dog. " Cold-slaw " mane and 
tip of tail. Basket of fruit. Of the 
variety without the base. Rare. 

No. 57. Flint Enamel Doe, reclining on oval 
base. 11^ inches long. Beautifully- 
mottled with orange and olive 
colors. Bears the 1849 Mark. 

No. 58. Companion piece to the above No. 57, 
in the shape of the Stag reclining 
on oval base. 11^ inches long. 
With olive, orange and brown mot- 
tling. 1849 Mark. 

No. 59. Flint enamel Cow Creamer in light 
brown and orange coloring. 

No. 60. Flint Enamel Lion. The variety without 
base. With " cold-slaw " mane. In 
mahogany and olive colorings. 

No. 61. Toby Jug. In form of a seated figure. 
Grape-vine handle. Mahogany 
coloring. 6^ inches in height. 

No. 62. Toby Jug. So-called " Benjamin Frank- 
lin." Boot handle. Height 6 inches. 
1849 Mark. 

No. 62. Mate to No. 56. Flint Enamel Poodle 
Dog. 

No. 64. Child's Bank. Flint enamel. Shaped as 
a Lady in crinoline skirts. Beauti- 
fully mottled enamel in blue, orange 
and mahogany. 



6o HISTORY OF THE BENNINGTON POTTERY 

No. 6^. Flint Enamel Lion. " Cold-slaw " mane. 
On base. Yellow and mahogany 
tone. 1849 Mark. 

No. 66. Toby Bottle. Flint enamel. Narrow 
brimmed hat. Rarest of the two 
varieties. Flecked with olive color- 
ing. 1849 Mark. 

No. 67. Flint Enamel Tulip-shaped Pitcher. 
Covered spout. Rich colorings, 
green, yellow and brown. Reeded. 
Height 5^ inches. 

No. 68. Coffee pot. Flint enamel. Octagonal. 
Dome shaped cover. Streaked with 
olive, orange and brown. Height 
to top of finial, 123^ inches. 

No. 69. Flint Enameled Sugar Bowl. Octagonal 
shape. Streaked with blue, brown 
and yellow. Dome shaped cover. 
Height 9 inches. 

No. 70. Tea-pot. Octagonal flint enamel. Dome 
shaped cover. Goes with Nos. 68 
and 69. Height 9 inches to top of 
cover. 

No. 71. Octagonal Flint Enamel Coffee Pot. 
Dome-shaped cover. Height 10% 
inches. Streaked glaze with orange, 
blue and brown. 1849 Mark. 



HISTORY OF THE BENNINGTON POTTERY 6 1 

No. 72. Sugar-bowl, flint enamel. Brown glaze. 
Speckled. 1849 Mark. Height 73^ 
inches. 

No. 73. Goblet-shaped Vase on circular foot. 
Fluted rim. Flint enamel. Height 
6 inches. 

No. 74. Flint Enamel " Greatbach " Hound 
Handle Pitcher, in mahogany tone. 

No. 75. Tall Goblet-shaped Vase, scalloped rim. 
Streaked with blue and brown. 
Height 10 inches. 

No. 76. Bennington Book Bottle. Flint enamel. 
Speckled orange, brown and blue. 
5^ inches by 4 inches. With " Fen- 
ton's Works " Medallion Mark on 
bottom leaf edge of book. (Marked 
Bennington books are extremely 
rare. ) 

No. 77. Flint Enamel Book Bottle, 11 inches by 
S% inches. Streaked brown and 
blue glaze. Marked " Bennington 
Companion." 

No. 78. Bennington Book Bottle. Flint enamel. 
Marked "Life of Kossuth." s'A 
inches by 4 inches. Streaked mahog- 
any with fleckings of blue. 



62 HISTORY OF THE BENNINGTON POTTERY 

No. 79. Bennington Book Bottle. Flint enamel. 
7^ inches by 6 inches. Marked 
" Bennington Companion." Streaked 
brown and yellow glaze. 

No. 80. Bennington Book Bottle. Flint enamel. 
5^ inches by 4 inches. Marked 
" Hermit's Companion." Marked 
books are extremely rare. Beauti- 
fully flecked with orange and olive. 
1849 mark, impressed. 

No. 81. Bennington Book Bottle. Flint enamel. 
5^ inches by 4 inches. Marked 
" Departed Spirits." In dark glaze 
of mahogany, blue and yellow. 

No. 82. Bennington Book Bottle. Flint enamel. 

8 inches by 5^ inches. Marked 
"Life of Kossuth." Speckled 
orange and olive. 

No. 83. Goblet-shaped Vase with scalloped rim, 
in a deep mahogany tone. Height 

9 inches. 

No. 84. Bennington Book Bottle. Flint enamel. 
10^ inches by 8^ inches. Marked 
" Bennington Battle." Superb speci- 
\ men. Eight Bennington Book Bot- 

tles, all different sizes and titles. 

No. 85. Octagonal Flint Enamel Pitcher. Flar- 
ing spout. " Figure Seven " handle 
in mottled olive and yellow coloring. 
Height 7>4 inches. 1849 Mark. 



HISTORY OF THE BENNINGTON POTTERY 63 

No. 86. Same as 85. Height 6 inches. 1849 
Mark. 

No. 87. Flint Enamel Pitcher. Hunting scene in 

relief. Branch handle. Heavy 

brown glaze. 
No. 88. Flint Enamel Pitcher with rare light 

green and olive mottling. Diamond 

shaped markings. 

No. 89. Large Cylindrical Fluted Cracker Jar, 
with cover. Flint enamel. Height 
9^ inches. Diameter 6 inches. 
Mahogany tone. 

No. 90. Brown Flint Enamel Pitcher. Hexag- 
onal form. Decorated with relief 
of roses and leaves with impressed 
Mark in straight lines, of " Norton 
and Fenton, East Bennington, Ver- 
mont." Very early specimen circa 
1840. Extremely rare. Very early. 

No. 91. Octagonal-shaped Pitcher. Flint enamel. 
" Figure Seven " handle. Flaring 
spout. Height 734 inches. Brown 
tones with fleckings of blue. 1849 
Mark. 

No. 92. Brown Flint Enamel Pitcher. Sexag- 
onal shape, with relief panel of 
flowers and leaves. Extremely rare. 
Mark the straight line *' Norton and 
Fenton, East Bennington, Ver- 
mont." Rare Mark, circa 1840. 
6 



64 HISTORY OF THE BENNINGTON POTTERY 

No. 93. Tulip-shaped Pitcher in Flint Enamel. 
Height 8>4 inches. Speckled with 
brown and yellow. A beautiful spec- 
imen. The 1849 Mark. 

No. 94. Brown Flint Enamel Pitcher. Sexag- 
onal shape. Height 8>^ inches. 
Rose and grape decoration, in re- 
lief. One tone mahogany coloring. 
" Norton and Fenton, Bennington, 
Vermont " Mark. The Circular 
Mark. 

No. 95. Flint Enamel Water Pitcher. Height 
10^ inches. Streaked brown color- 
ing. 

No. 96. Flint Enamel Foot-Bath Tub. Olive, 
brown and yellow. Blue streaks and 
mottling. 18 inches by 14 inches. 
1849 Mark. 

No. 97. Goblet-shaped Vase. Fluted sides and 
pedestal. Scalloped top. Height 
10 inches. 

No. 98. Flint Enamel Pitcher. Flecked with 
green, brown and yellow. Diamond 
shaped decoration on sides. Height 
10^ inches. 

No. 99. Pair of Curtain Knobs. Flint enamel. 
Diameter 4 inches. Mahogany and 
blue colorings. Rare. 



HISTORY OF THE BENNINGTON POTTERY 6^ 

No. ICG. Flint Enamel Pitcher. Dark brown 
mottling. Height 9 inches. 

No. loi. Door Plate with lettering of name 
*' W. Johnson." Flint enamel. 
Brown tone. 

No. 102. Water Cooler. Flint enamel 16% 
inches in height by 1 1 inches wide, 
with pewter spigot. Brown tone. 
In shape of a column, on an octag- 
onal base. Fenton's Medallion 
Mark. 

No. 103. Flint Enamel Tile for Fire Set. 6^ 
inches by 8^ inches. 1849 Mark. 

No. 104. Flint Enamel Water Pitcher. Octag- 
onal. Height 1 1 inches. " Figure 
Seven " handle. Rich mahogany, 
blue and yellow coloring. 1849 
Mark. 

No. 105. Flint Enamel Pitcher and Wash-Bowl. 
Extremely rare. Light green and 
yellow streakings. Diamond-shaped 
decorations on side of pitcher and 
on inside of bowl. Very rare color- 
ing. 

No. 106. Flint Enamel Soap-Dish and Strainer 
Octagonal shape. Olive and cream 
coloring with 1849 Mark. Im- 
pressed. 



66 HISTORY OF THE BENNINGTON POTTERY 

No. 107. Octagonal Flint Enamel Soap-Dish and 
Strainer and Cover, in rich mahog- 
any and yellow and cream color. 
1 849 Mark. Impressed. 

No. 108. Very Rare Pitcher and Wash-Bowl. 
Tall octagonal shape. Height 12 
inches. Flint Enamel. Rare and 
beautiful coloring, blue, olive and 
orange on a cream body. 1849 
Mark Impressed. Very rare. Ex- 
quisite coloring. 

No. 109. Water Cooler. Flint enamel. Height 
16 inches. Diameter 12 inches. 
Octagonal sides composed of eight 
columns, taken from the design of 
the base of the Monument of Ben- 
nington Ware, at Bennington, Ver- 
mont. Around the top is the Mark 
" Lyman and Fenton, 1849." 



iJIttrkfi of tlj0 IB^ttnttt9t0tt pott^rg 



ilarkfi nf t\\t 



Dr. Edwin A. Barber in his book on " Pot- 
tery and Porcelain of the United States " states, 
" that no attempt has ever been made to compile a 
list of marks and maker's designs on American 
wares. Unmarked pieces of undoubted genuine- 
ness have been handed down to us carefully from 
the time of our grand-parents, and by means of 
these, the ceramic student may hope to be enabled 
to penetrate the vail of uncertainty which sur- 
rounds others. 

Fortunately, we find now and then a spec- 
imen bearing a mark among the productions of 
discontinued factories of the last century. We can 
at least commence now to gather together what is 
still to be procured from the past and to collect 
material for the history of the potter's art as it 
exists in America in our own time. 

Further delay would seem inexcusable, 
because it would result in the loss of information 
which, while now obtainable, could not be pro- 
cured a few years hence. 



70 HISTORY OF THE BENNINGTON POTTERY 

No attempt has ever been made, so far as 
we know, to compile a list of marks and maker's 
designs on American wares." 



The following list of the Marks of the 
Bennington Pottery have been procured from the 
Albert Hastings Pitkin Collection in the Morgan 
Memorial, Hartford, Conn. 

Mark I. " Norton & Fenton, Benning- 
ton, Vt." Impressed on the Octagonal pitchers of 
the ** single glaze " Rockingham Ware. 

Mark 2. This same mark also appears in 
eUIptical form on similar pitchers. 



HISTORY OF THE BENNINGTON POTTERY 7 1 



NORTON &FENTON 

East Bennington,Vt. 

Mark 3. " Norton & Fenton, East Ben- 
nington, Vt." A brown glazed pitcher In the 
Pitkin Collection bears this mark. This pitcher 
and a stone ware jug, are the only pieces I have 
ever seen bearing this extremely rare mark. 

Mark 4. " Norton & Fenton." 



lit 

\Fmton'sWorksi\ 



Bennin^tonil 

Vermont. 



Mark 5. " Fenton's Works, Bennington, 
Vt." Mark found on a few pieces of Parian ware. 
Letters impressed In a raised panel. 



72 HISTORY OF THE BENNINGTON POTTERY 




Mark 6. " Lyman Fenton & Co. Fen- 
ton's Enamel. Patented, 1849. Bennington, Vt." 
This mark is used on Lyman & Fenton's Patent 
Flint Enamelled ware in 1849. Impressed. 




Mark 7. " The United States Pottery," in 
three designs. No. 7 A called " the Ribbon 
Mark " and was used at the United States Pottery 
of Lyman and Fenton, Bennington, Vt., on parian 
and porcelain about 1853. The letters and figures 
are impressed in a raised ribbon. The figure to 
the right varies on different pieces and was prob- 
ably the pattern number. 



HISTORY OF THE BENNINGTON POTTERY 73 



POTTERY Co. 

Mark yB. Mark used on " scrodled " and 
other ware made at the United States Pottery. 
Impressed. 






^^1 



#v% 



POTTERY CO.^ ^ 

Mark 7C. "Medallion Mark" of the 
United States Pottery Co., Bennington, Vt. See 
" Water-fall " or " Niagara " Pitcher No. 40, in 
the Pitkin Collection. 

Also white Glazed Parian Pitcher. Ivy- 
leaf design. Height 7 inches. Glazed inside and 
out. No. 17 in the Pitkin Collection. 



lEtirly Am^nran 3folk JP^ntt^rg 



Stat of 3IUu0trattx>ttfi of tl|^ 
Earlg Amj^rton Sulk l^otUx^ 

Plate No. I. 

Large Pitcher, Seymour Pottery, 

1800 84 

No. 2. 

Stone Ware Jar. Marked " Good- 
win and Webster." Height, 

ioy2 inches. 1820 88 

No. 3. 

Large Jar, Decoration: Incised 
Eagle and Fish in relief. Yel- 
low body with green and 
black colors. Height, S}^ 
inches. Seth Goodwin, West 

Hartford, 1 800 90 

No. 4. 

Large Pie Plate, Wavy Lines. 

Norwalk, Conn 92 

No. 5. 

Large Water Cooler. Marked: 
" Hastings and Belding, Ash- 
field, Mass." 94 



78 LIST OF ILLUSTRATIONS 

No. 6. 

Covered Jar with Ear Handles. 
Height, ID inches. Pink 
color splashed with brown. 
Japanese style, Portland, 
Maine 98 ^ 

No. 7. 

Sgrafitto Pie Plate, Presentation 
Piece to Elisabeth Reiser. 
Samuel Troxel, Potter, 1827. 
Hanover, Montgomery 
County, Pa. Inscribed and 
signed and dated. 1 1 inches 
in diameter. Yellow body, 
green, red and brown color. 
Tulip Decoration 104 

No. 8. 

Large deep Dish. Brown and 
White Slip. Pennsylvania. 
Decoration, Tulip Motive. 
Diameter 12^ inches 106 

No. 9. 

Pitcher. " Hound Handle." Deco- 
ration, Hunting Scene. 
Grapes and Leaves 108 



Stttruburtuin 



Mr. Albert Hastings Pitkin had been for 
several years collecting material for the preceding 
" History of the Bennington Pottery." He had 
nearly completed it, when he was taken away by 
death, October the fourteenth, Nineteen hundred 
and seventeen. 

His papers on it, and on the Early Ameri- 
can Folk Pottery, which he was equally interested 
in, were found, after his death, to be in such con- 
dition, that it seemed possible to collate and pub- 
lish them. 

The completion of the work, has been done 
by his wife, Mrs. Albert Hastings Pitkin, as a 
Memorial to her husband. 

Mrs. Pitkin begs leave to express her sense 
of indebtedness to all who have contributed, in any 
manner to the information contained In this book, 
and desires particularly to express her thanks to 
Mrs. Florence V. Paull-Berger, formerly of the 



80 INTRODUCTION 



Boston Museum of Fine Arts, now General Cura- 
tor of the Wadsworth Atheneum, Hartford, 
Conn., succeeding Mr. Albert Hastings Pitkin; to 
Mr. George Francis Dow of Essex Institute, 
Salem, Mass.; to Mr. Henry S. Gates of Chicago, 
Ills.; to Dr. Edwin A. Barber of Pennsylvania 
Museum, Fairmount Park, Philadelphia; to Mr. 
Frederick J. Williamson of Montclair, New Jer- 
sey; to Mr. Henry W. Erving and Mr. William 
T. Pitkin of Hartford, Conn.; to Mrs. W. B. 
Walker, Mrs. C. H. Emmons, Mr. William G. 
Leake, Mr. George Robinson, Mr. Andrew Oat- 
man, all of Bennington, Vermont. 

The negatives (taken by Mr. William J. 
Hickmott) of the various specimens of pottery, 
are from the " Albert Hastings Pitkin Collec- 
tions," in the Pottery Room of the Morgan Me- 
morial at Hartford, Conn., and have been selected 
as best illustrating the various classes of wares, 
mentioned in the text. 






In the Spring of 1884, while " China hunt- 
ing " near Hartford, Conn., I picked up, at a farm 
house, two pieces of " Red Clay Pottery," lead 
glazed and slip decorated. Little information 
could be obtained regarding them, except, that 
they were, probably, more than fifty years old, 
and at one time, quite common. At that time, I 
knew of no such pieces in the hands of either 
dealer or collector. Convinced from the first that 
they were of home manufacture, I began to study 
into the matter, and to quietly collect all similar 
pieces available. 

Research revealed, that like wares were 
produced in large quantities in many localities of 
the New England States, during a period from 
about 177 1 to 1850. By the time I had obtained 



82 EARLY AMERICAN FOLK POTTERY 

some sixty or seventy examples, I observed other 
collectors, as well as dealers giving their attention 
to these wares. As a result it became scarce and 
rapidly increased in value. Today, it is being 
sought for, for Museum Collections. 

By searching from Maine to Pennsylvania, 
about two hundred pieces I have collected and 
much valuable information relating thereto has 
been acquired. 

So that, by judging of materials used, 
workmanship, glazes, decorations, etc., etc., one 
may now with a reasonable amount of certainty, 
classify these productions, allotting them to certain 
states, and, even, townships, and in many instances, 
to individual potters. 

The Red Clay Pottery of New England 
was rarely, if ever, signed by the potter; while the 
Stone Ware frequently was. Examples obtained 
from an aged potter, who learned his trade of his 
grandfather, and sold me the pieces he knew were 
made by each individual, have made it possible to 
identify wares of that particular pottery. 

In the Red Clay Pottery of the New Eng- 
land States, and that of Pennsylvania, there were 
many points in common, as to the materials used, 
methods employed, etc. Still, to Pennsylvania, all 
other States must " yield the palm " for variety, 
elaborate ornamentation, and designs, as well as 
for priority of production. The New England 
potters were strongly influenced by the English, 
while those of Pennsylvania, by the Germans. . 



EARLY AMERICAN FOLK POTTERY 83 

In an old house in Bralntree, England, also 
in the Museum in Liverpool, England, I saw pot- 
tery dishes, the material of which, the workman- 
ship, color, etc., closely resembled these early pro- 
ductions of New England. They were attributed 
to the "late 17th, or early i8th Centuries" and 
were of English make. 

In the Rijks Museum, Amsterdam, Hol- 
land, there is a dish, twenty-five and one-half 
inches in diameter, elaborately decorated in slip, 
with an inscription in Dutch, signed and dated 
1770. My first impression of this piece would 
lead me to pronounce it Pennsylvania, so strongly 
does it resemble such wares, in all respects. By 
such examples, one may easily trace the hereditary 
influences on the early potters of the United States. 

Prior to the American Revolution, crock- 
ery of any kind, was by no means a common article, 
in the New England home. Independence was not 
only declared by the Colonies, but also enacted. 
Home manufactures began in a small way. These, 
encouraged by home demand and consumption, 
aided by American energy and Yankee ingenuity 
(which has proven well-nigh creative) and 
fostered by a protective Tariff, have grown to ex- 
ceed in importance those of any other nation on 
Earth. 

At first, attention was given to the manu- 
facture of articles most needed for home use, re- 
quiring only a small out-lay for the plant, and not 
demanding highly skilled labor. 



84 EARLY AMERICAN FOLK POTTERY 

One can readily see, that during the last 
quarter of the Eighteenth Century, numerous small 
potteries sprang Into existence, In the most popu- 
lous centers through-out New England. These 
produced. In comparatively large quantities, house- 
hold utensils, low In price and made In great vari- 
ety of form, size, and usefulness. Their crudeness 
alone, makes them attractive, and on some we find 
glazes and colors unexcelled, even by the renowned 
Japanese potters. 

Let me refer to a pottery, by way of local 
Interest In Hartford, Conn. This pottery stood at 
the South East corner of Park Street and Quaker 
Lane, Hartford West Division, as It was then 
called. This was built and operated about 1790, 
by Nathaniel Seymour (Plate No. i). From the 
late Major Seymour, a grandson of Nathaniel, I 
obtained several pieces made at this pottery; some 
was made by the Major, who learned the trade 
from his Grandfather, succeeding him In business 
and living In the ancestral home, where I Inter- 
viewed him, and from the attic of which the 
pieces were brought forth. The Major related, 
that up to about 1825, their out-put consisted of 
the various domestic wares, made entirely of Con- 
necticut clay, colored by the use of cobalt. Iron, 
manganese, copper, etc., mixed with various 
clays. From Rocky Hill in near vicinity a sand 
was obtained, which mixed In equal parts with red 
lead, produced a glaze when fired. 

Generally four men were employed at the 




No. I. 



EARLY AMERICAN FOLK POTTERY 85 

wheels. The kiln was about ten feet in diameter 
inside. 

Firing lasted from twenty-four to thirty- 
six hours and about the same time was required for 
cooling off, before opening the kiln. 

They fired a kiln about fifty times a year. 
Assuming that it took the greater part of a week 
for each kiln full, and that there were no " eight 
hour laws " in those days, one wonders if they 
knew the meaning of Vacation. We are led to be- 
lieve that their Neuritis yielded to " Opodeldoc," 
and their Appendicitis to " Boneset tea." In those 
days, men and women died " in the harness " and 
but few *' rusted out." 

Pottery was retailed at the potteries, and 
much was disposed of by peddlers from carts, as 
they traveled through the State, taking various 
kinds of farm produce in exchange, as the tin- 
peddlers did up to about 1875. 

Dishes of one gallon capacity, sold for one 
dollar per dozen. Two gallon milk pans, for one 
dollar and fifty cents per dozen. A piece must 
needs have been large, especially well-potted, and 
decorated, to have brought as much as two 
" Yankee shillings." 

Major Seymour said, that cotemporaneous 
with this Seymour Pottery, were several in Hart- 
ford, Fairfield, New London, New Haven, and 
Windham Counties. Previous to 1800, the 
Messrs. Goodwin had similar potteries in what is 
now called Elmwood. 



86 EARLY AMERICAN FOLK POTTERY 



After 1830, the out-put of the Seymour 
Pottery consisted chiefly of un-glazed flower pots. 
This Pottery was moved " up the Lane " a quarter 
of a mile, about 1840. Major Seymour moved 
to Michigan In 1842, thence In 1849, to Ravenna, 
Ohio, where In partnership with a Mr. Stedman, 
they manufactured " Stone Ware," a specimen of 
which, bearing their Firm mark, I have In my Col- 
lection of Early American Folk Pottery. Major 
Seymour served In the Civil War In the Seventh 
Ohio Infantry, after the close of which, he re- 
turned to his ancestral home and died there near 
the close of 1903. Examples of the Seymour Pot- 
tery will be found in my Collection of Early Amer- 
ican Folk Pottery Room of the Morgan Memorial, 
Hartford, Conn., Nos. 78, 80, 88, 90, 105. 

One of the prominent potteries of early 
days was the " Goodwin Pottery " of Hartford, 
and West Hartford, Connecticut. Ozias Good- 
win, the progenitor of the family of Goodwin, In 
this country, was born in 1596 and md. Mary 
Woodward of Bralntree, England. He was first, 
In Hartford, as a "Land-holder" In 1639 and 
died in 1683. His first son, William, died In 
Hartford in 1689. William's third child, 
Nathaniel died In 1747. Nathaniel's fourth child, 
Isaac, of West Hartford. Isaac's ninth child, 
Ebenezer, b. in West Hartford, married Anne 
Webster, of West Hartford, moved to New Hart- 
ford about 1762-3 — Died May i8th, 1810. 
Ebenezer's fifth child, Seth, b. Aug. 12th, 1772, in 



EARLY AMERICAN FOLK POTTERY 87 

New Hartford. He moved to Hartford, West 
Division. He married 1795 and died Oct. 3rd, 
1828. He was a Pof/^r. Seth's second child was 
Thomas O'Hara Goodwin, b. 1796, md. 1821. 
He died July 6th, 1880. He was a Potter. 
Thomas' fourth child was George Thomas Good- 
win, b. 1837, married Susan F. Williams. From 
Mr. George T. Goodwin, I obtained five pieces of 
the Goodwin Pottery. 

Ebenezer Goodwin, the father of Seth, the 
Potter. His ninth child Pitts, was born in New 
Hartford, married Miriam Gilbert in 1801. He 
died Aug. 2nd, 1864. Their first child Harvey, 
born in 1802 in New Hartford. He probably 
learned the Potter's trade of his uncle, Seth Good- 
win, or of his cousin, Thomas. In 1823, he 
moved to Torringford and in 1827 to West Hart- 
ford, and manufactured Pottery. He began the 
Pottery business on his own account, in 1832, and 
continued till 1870, when he transferred it to his 
sons, Harvey Burdett Goodwin, and JVilbur El- 
more Goodwin, who formed the firm of Goodwin 
Brothers. 

Ebenezer's fifth child was Seth. Ebene- 
zer's tenth child was Horace H. Ebenezer's 
grandchild by his ninth son, Pitts was Harvey. 
Seth and Thomas H. had pottery in Hartford 
West Division. Horace had a Pottery in Hart- 
ford and the Firm name was " Goodwin and Web- 
ster." He died in 1850. Harvey, "Goodwin 
Brothers, Elmwood." (Plate No. 2.) 



88 EARLY AMERICAN FOLK POTTERY 



The list of the then famous Goodwin Pot- 
ters is then, Seth, Thomas O'Hara, Horace, and 
Harvey. Examples of the Goodwin potters in my 
Collection in the Pottery Room of the Morgan 
Memorial, Hartford, Conn., include a jug, marked 
"Goodwin and Webster" 1818-20, "Webster 
and Seymour " hot water bottle and Daniel Good- 
ale about 1818, " C. Webster and Son," 1826, 
and others. 

In this little treatise on Early American 
Pottery, I shall confine my attention to the fictile 
productions of the American Folk, and used by 
American Folk, as exemplified in the work of our 
English and European ancestors who were among 
the early settlers in this country. The Pottery 
made by the aborigines will have no consideration, 
because it was an un-glazed ware and because it 
belongs essentially to Ethnological study. 

In the first half of the Seventeenth Cen- 
tury, there were a number of potters in Virginia, 
probably emigrants from England. The early 
Dutch settlers in New York are said " to have 
made a ware equal to that produced in Dellft, 
Holland." 

In a description of Philadelphia, published 
in 1697, we read " Potters have sixteen pence for 
an earthern pot which may be bought in England 
for fourpence." One Joshua Tittery, came to 
Pennsylvania from New-Castle-on-Tyne, in 1683, 
and in his Will, calls himself a Potter. Dr. Daniel 
Coxe, of London, a Proprietor of West New Jer- 




No. 2. 



EARLY AMERICAN FOLK POTTERY 89 



sey, and afterwards its Governor, although he did 
not come to America, had erected a pottery at 
Burlington, New Jersey about 1685. This was 
managed by his son, Daniel, and his Agent, John 
Tatliam. In the Bodleian Library, at Oxford, 
England, is a manuscript relating to this Pottery, 
which reads in part, as follows: — "I have 
erected a pottery att Burlington for white and 
chiney ware." " I have two houses and kilns with 
all necessary implements." 

It is certain that bricks were made in this 
country, soon after the arrival of the first colo- 
nists, although many were also imported to this 
country from Holland and England in the Seven- 
teenth Century. Flat roofing tiles, too, were made 
by the Germans of Eastern Pennsylvania, in the 
style of those used in their native country. These 
were rectangular, curved at one end, with a slight 
grooving on the upper side to allow the rain to 
run off. 

The body of the American Red Ware, is 
of a fine, close texture, resembling somewhat, the 
European un-glazed red pottery, such as was made 
by Elers and his imitators. Some of it is simply 
covered with a wash of lead, which deepens its 
color. Other pieces have been dipped in a thin 
slip, which only partially covers the clay, and gives 
a mottled surface. This is very attractively ex- 
emplified in some specimens of Connecticut Red 
Ware. Again, streaks of orange, green or black 



90 EARLY AMERICAN FOLK POTTERY 

are introduced producing charming cloud-like 
effects or " smoke-splashes." 

To the kindness of Mr. Henry W. Erving 
of Hartford we are Indebted for the following 
interesting extract from the Hartford Evening 
Post of the date May 26th, 1883. 

" Recollections of Albert Risley, a potter 
for sixty years in Pottery No. 38 Front Street, of 
Messrs. O. H. Seymour and Stanley B. Bosworth. 

" From what I have heard in years gone 
by some time previous to 1800, about 1790, John 
Souter, an Englishman came to Hartford, and 
built a pottery on the north-east corner of Potter 
and Front Streets. He continued in the earthern- 
ware manufacturing, until 1805, when he sold out, 
to Peter Cross. Cross a few years later, removed 
to 38 Front Street, having sold out the old place to 
Horace Goodwin and McCloud Webster. Cross 
met with little success and sold out to Captain 
George Benton and Captain Levi Stuart, two re- 
turned sea-captains. 

" Daniel Goodale, Jr., came from 
Whately, Mass., to manage the business, and in 
18 18, purchased the pottery. He continued in 
possession until 1830, when he sold out to Good- 
win and Webster, who ran it, in connection with 
their corner pottery. About 1850, the corner lot 
was sold to D. F. Robinson, and the firm dissolved, 
Mr. Webster continuing with his son, Mr. C. T. 
Webster. Webster and Son were located at No. 
38 Front Street and the business was quite success- 




No. 3. 



EARLY AMERICAN FOLK POTTERY 9 1 



ful. Mr. Webster died in 1857 and O. H. Sey- 
mour was admitted to the firm. About 1873, the 
present firm, Seymour and Bosworth, was organ- 
ized. Many years ago, Boston began to get her 
eathernware from Hartford, and it was here that 
the celebrated ' bean pots ' were made. Besides 
these, cake-pots, butter-pots, tea-pots, flower-pots, 
beer bottles, beer mugs, beer fountains, butter- 
pails, water coolers and milk-pans." 

In Gardner's Hartford City Directory for 
May 3rd, 1840, is found the following list: 

Henry Webster, Potter, h. Coles St. 

M. C. Webster & Son, Pottery 27 — h. 18 
Front Street, 

T. D. & S. Boardman, Manufacturers of Block 
Tin and Pewter Ware, No. 274^4 Main Street, 

Thomas D. Boardman, h. 274 Main Street, 

Sherman Boardman (T. D. & S.), h. 67 Trum- 
bull Street, 

Andrew F. Hastings Dry Goods 219, h. 237 
Main Street, 

Benjamin Hastings, Collector of Taxes, h. 40 
Village Street, 

Henry Hastings, h. 35 Windsor Street, 

H. and J. F. Pitkin, Jewellers, 211 Main, h. 
East Hartford, 

Potter Street from 13 Front, east to Dutch 
Point, 

City Ofiicers, City Sheriffs, Benjamin Hastings, 

Collector, Benjamin Hastings. 



92 EARLY AMERICAN FOLK POTTERY 

Hartford seems to have been the center 
for the manufacture of Hollow Ware such as 
jugs, crocks, pitchers, etc. — So, from Norwalk 
came the heavy pie plates, decorated with wavy 
lines of cream-colored slip, or with the owners 
name. Mention is found of one Mr. Day of 
South Norwalk, who owned a pottery about 
1825. 

Mr. George E. Webb of Norwalk stated 
that the old Norwalk pottery sent out peddler 
wagons through Westport to Bridgeport, about 
i860. He also stated that about 1902 the " Old 
Brick Pottery " building was restored and en- 
larged and became a paper mill. There was also 
a firm Asa Smith and Sons. One of the sons, 
Elbert Smith, who was about seventy years old 
when in correspondence with Mr. Pitkin in 1907, 
was one of the potters of the firm. Some of this 
pottery is dated 1859. 

During the third week of August, 1908, 
while at Ashfield, Mass., I found an old stone 
ware churn with the following mark thereon, viz. : 

" HASTINGS & BELDING " 
"ASHFIELD, MASS." 

This mark was impressed on the upper front of the 
churn. Upon inquiry, I found that a Stone-Ware 
Pottery once existed at a place called " Tin Pot," 
so-called, because there was a tin-ware shop, as 
well as a pottery, located there. This place is now 
known as South Ashfield, Massachusetts. 




No. 4. 



EARLY AMERICAN FOLK POTTERY 93 

To South Ashfield I went, eager for in- 
formation and pottery. Of the former, I ob- 
tained the following facts, from several of the 
older inhabitants of the village, a leading one of 
whom was Mr. Charles H. Day, well-known and 
of great reputation as a maker of surgical splints. 
Mr. Day told me that about 1 847-1 848, Walter 
Orcutt built the pottery at South Ashfield, using 
the firm name as a mark of their wares of " W. & 
E. Orcutt & Co." Eleazur Orcutt attended to 
the firing. 

About 1850, they were succeeded by Wel- 
lington Hastings, of Wilmington, Vermont, and 
David Belding of Whately, Mass., under the firm 
name of " Hastings & Belding." They failed 
about 1854, and were succeeded by Staats D. Van 
Loon, associated with George Boyden, from Con- 
way, Massachusetts. They continued the works 
until about 1856, when the pottery industry be- 
came abandoned, probably, because of the coming 
on of the hard times of 1857, also because of the 
competition of the Bennington Wares. 

The building was used as a black-smith's 
shop until the Flood of December loth, 1878, 
which broke away the dam at Ashfield, destroyed 
buildings in its path and swept away the old black- 
smith's shop, formerly a pottery, leaving the roof 
thereof in a lot below. The out-put of this pot- 
tery seems to have consisted, entirely, of Stone- 
Ware for house-hold uses, such as jugs, jars, 
crocks and churns. They employed only six or 



94 EARLY AMERICAN FOLK POTTERY 

seven men, had but one kiln and three turners. 
Most of the clay used, was brought from Perth 
Amboy, New Jersey. 

Mrs. John Luther Guilford, of South Ash- 
field, Mass., stated that Wellington Hastings was 
her uncle, and David Belding was her step-father. 
Her maiden name was Harriet S. Stanley, daugh- 
ter of Rufus Allen Stanley of Wilmington, Ver- 
mont. Harriet Sophia Stanley, as a young girl 
was frequently at the pottery and often at play 
there, becoming the favorite of one Wight, the 
principal turner, employed in the Pottery. For 
her special use, Wight made a money-bank bearing 
the inscription impressed, " Harriet S. Stanley, 
1850. Aug. 17th." (This appears twice in paral- 
lel lines across the bank.) Wight, also, made for 
her, a miniature churn, complete, in grey Stone- 
Ware ornamented in cobalt blue, and washed in- 
side, with a leatherish brown color. This bears 
the firm mark, " HASTINGS & BELDING " 
"ASHFIELD, MASS." 

On the reverse side, length-wise across the churn, 
written in script, in cobalt blue reads "August, 
1852 " (which strange to say, is the month and 
year of my birth) . This churn is now in my pos- 
session, I having purchased same from Mrs. John 
Luther Guilford in the presence of her husband, at 
their house, Aug. 27, 1908, and it is in the Pitkin 
Collection in the Morgan Memorial, Hartford, 
Conn. 




No. 5. 



EARLY AMERICAN FOLK POTTERY 95 



Among the South Norwalk products were 
knobs for doors, furniture, and shutters, com- 
posed of Red, White and Black clays, mixed to- 
gether and covered with the brown Rockingham 
glaze. Previously, pottery coat buttons had been 
made. They were either moulded or pressed in 
dies and had four perforations either for the 
thread or a metal shank. They were of two quali- 
ties, a coarse red body, covered with a light brown 
glaze, and a fine white body, with a good mottled 
glaze. There are specimens of both knobs and 
buttons in the Pitkin Collection. Capt. Enoch 
Wood, a cousin of the great Staffordshire potter, 
was interested in this industry. He had first been 
employed at the Bennington works, but left there, 
to go to South Norwalk, where he became part 
owner, in 1856. No buttons were made, however, 
after 1853. 

We find Records of Potteries in Connecti- 
cut as follows : 

At Norwalk, as early as 1780. 
At Norwich, as early as 1796. 
At Stonington, as early as 1798. 
At Hartford and vicinity the last quarter of the 
Eighteenth Century, witnessed the establishment 
of several small potteries. 

In Massachusetts, potteries were estab- 
lished as early as the first quarter of the Eighteenth 
Century, at Peabody. In 1765, Abraham Hews 
established in Weston, Mass., the terra-cotta 
works which later were removed to Cambridge. 

7 



g6 EARLY AMERICAN FOLK POTTERY 

At first, bean-pots, pudding and milk pans, jugs, 
etc., were made and exchanged for needed com- 
modities. The business increased rapidly and be- 
fore the fire in 1 891, it is claimed that more flower- 
pots were made here, than in any other establish- 
ment in the world. At that time, they specialized 
in ornamental garden vases, jardinieres, etc., etc. 

In the paper on " Early American Pot- 
tery " which Miss Florence V. PauU read at a 
Sunday afternoon lecture at the Metropolitan 
Museum, New York, this winter, is the following: 

" I am indebted to Mr. George Francis 
Dow of the Essex Institute, Salem, for the fol- 
lowing notes on the early industry, at Peabody, 
Mass., and its vicinity. 

Jonathan Kettle of Peabody, Mass., is 
mentioned as a potter in 1731. His estate at 31 
Andover Street was sold to Joseph Whittemore, 
in the same trade, about 1765. 

Joseph Osborne, 1702-1780, had a place 
on Central Street and the business descended in 
the family, from father to son, until the death of 
William, in the second half of the nineteenth 
century. 

Miles Kendall (i 796-1 875), who when 
he married in 1824, is said to have made jugs for 
each of his brothers and sisters, instead of receiv- 
ing wedding presents from them. 

The mother of Joseph W. Reed, another 
potter, was the daughter of Joseph Whittemore 
already mentioned. 



EARLY AMERICAN FOLK POTTERY 97 



Connected with the factory of William 
Southwick at i6i Lowell Street were his son 
(1759-1828), and grandson James Chapman 
Southwick ( 1 793-1 841). An almost black glaze 
was the distinguishing mark of Southwick's prod- 
ucts, of which the Essex Institute, Salem, has some 
very excellent examples. Tea-pots, bottles, small 
jars, mugs, etc., seem to have been the out-put of 
this factory, rather than larger vessels. There are 
a good many pieces in the Collection which bear 
the maker's name; for instance, a " Stone ware " 
jug, of the early form with a full rounded body 
and a small neck, and base, is inscribed on the 
shoulder ' Barnabas Edmunds and Co., Charles- 
ton.' Another has ' L. & B. G. Chase Somerset.' 
Presumably, Massachusetts. 

It is interesting to know that Mr. Pit- 
kin's love for this Folk Pottery was first aroused 
by having given him a little jar, which was 
brought from Salem, Mass. Perhaps it had been 
made at one of these Peabody factories. 

Very typical also of the pottery made at 
Salem, is a briUiant red-brown lead glaze, on 
which appear occasional heavy dark brown 
splashes. So-called herb pitchers with flat covers, 
and a few moulded lines around the body, were 
made at Peabody. Beer mugs, and pitchers of 
Stone Ware, rootbeer bottles with the dealers' 
name on the front, large preserve jars, jugs 
marked with their capacity ^ or 3 gallons, the 
straight sided bean pot of red clay, glazed only 



98 EARLY AMERICAN FOLK POTTERY 

on the Inside, and holding several gallons, pottery 
churns with wooden plungers, huge milk, pans, 
stew pans, and pudding dishes were all In common 
use In the Eighteenth and early Nineteenth Cen- 
turies." (Miss Paull.) 

There was quite a large pottery at Dan- 
vers, Mass. Near Portland, Maine there was a 
small pottery (Plate 6), where the rich colorings 
of the glazes made there, about 1820, have never 
been equalled, surpassed if equalled, by the other 
makers of the early Red Clay Wares. Thus it Is 
that these potteries cited above, localize and period 
the early beginnings of the making of American 
pottery. 

It Is well known that early American pot- 
tery was of only two varieties; all records and all 
existing examples prove this. The first was gen- 
erally known as Stone Ware, and was highly vitri- 
fied, and salt-glazed. The second was generally 
of a much softer body and glazed with lead. It 
was commonly known as Red Ware. It Is Impos- 
sible to decide as to the priority of date, of either 
of these, except In the various localities of their 
production. Clay used In the making of Red 
Ware is abundant In many localities. This being 
ordinary red clay thoroughly levigated and freed 
from grit, such as bricks were made from; while 
that needed to make the Stone Ware was blue clay, 
not so freely found In New England as In New 
Jersey and New York State. Hence, we are liable 
to find the earliest pieces made in the latter two 




No. 6. 



EARLY AMERICAN FOLK POTTERY 99 



States were Stone Ware, and those of New Eng- 
land Red Ware. This was true, except in Con- 
necticut, where the two varieties are about equally 
divided. 

The earliest known examples, from Penn- 
sylvania and Virginia, are Red Wares. The kilns 
required for the firing of Stone Ware were large, 
and expensive to build, and the product demanded 
considerable skill in the making. For Red Ware 
the kilns were much smaller and less expensive, as 
many of the earlier potteries were small affairs 
and the wares less skillfully made and in some 
cases, afforded a secondary occupation to farming, 
oftentimes, not more than two or three men were 
employed with a boy as a helper. We find the Red 
Ware potteries the most numerous, and 'the exist- 
ing examples of these wares, especially of the com- 
moner shapes, more plentiful than Stone Ware, 
notwithstanding the fact that the Stone Ware is 
the most durable. 

Crocks, jars, bottles, pitchers, milk-pans, 
churns, mugs, ring-bottles, and ink-stands are 
among the shapes, common to both wares. While 
plates, bread-trays, bean-pots, furniture and door- 
knobs, buttons, bowls, tea-pots, sugar-bowls, vases, 
money-banks, toys, shelf-ornaments, are pieces 
more closely identified with Red Ware. 

Perhaps a short account of the old methods 
employed in making pottery, may be of interest 
as it will apply in a general way to the making of 
all the American Red Ware which has been men- 



lOO EARLY AMERICAN FOLK POTTERY 

tioned. Even today, the processes are similar, 
the appliances alone are less primitive. 

In the fall of the year, the clay was dug 
from the clay-pit and taken to the clay-mill to be 
ground. This mill was an upright post, set with 
several knives which revolved in a stationary tub, 
or vat, and was turned by horse-power. Water 
was mixed with the clay, and after about an hour's 
grinding, it became a soft yellowish mass, which 
was taken out on a bench and formed into rectan- 
gular blocks. These weighed about one hundred 
pounds a piece, and were closely piled in the cellar 
of the shop, to keep them moist and to prevent 
them from freezing. As the potter needed mate- 
rial, it was brought from the cellar to the work- 
bench, where lumps of the size required for use, 
were cut off and kneaded thoroughly. All gravel 
and foreign matter was picked out, and air bub- 
bles removed by slapping. The potter next cut 
off a smaller piece, sufficient for one pot or dish. 
This he threw on the revolving table of the wheel, 
shaping it with his hands and fingers, and smooth- 
ing the outside with a small piece of wood or 
leather. As a finishing touch, a wet sponge was 
passed over both inside and outside. The wheel 
was then stopped, a fine wire was passed under the 
pot to loosen it from the board, and it was set 
away to dry. After a few days, when thoroughly 
dry, the base was smoothed off, and the handles 
^nd the spouts applied. 



EARLY AMERICAN FOLK POTTERY lOI 

Next came the glazing, and if this was 
not done at the right time, the glaze was liable to 
peel off. The glaze was composed of lead, mixed 
with water and a little fine clay. The inside of a 
jar was glazed by pouring the liquid in, and whirl- 
ing the pot around, until all spots were covered. 
The remaining glaze was then poured out. The 
out-side glaze was applied by dipping the object 
into the liquid. After drying once more, the 
object was fired in a kiln for about thirty-six hours, 
and allowed to cool for a week. 

The lead glaze could be darkened by add- 
ing manganese, and a greenish tone was produced 
by verdigris, which was often daubed on the ware 
itself, giving it a mottled effect. 

Pie-plates were made by rolling out the 
clay-like dough, into thin cakes, which were cut 
by a die cutter, into the proper sizes, and set away 
to get partially dry. 

Then the slip decoration was applied, and 
beaten into the clay, making an even surface. 
Now, the clay was allowed to become about half 
dry, when it was ready to be shaped over the 
heavy clay moulds and the edges trimmed and 
finished with the " coggle " which made the ser- 
rations seen on nearly all of these plates. When 
perfectly dry, and after being slightly warmed, the 
lead glaze was applied on the inside of the plates 
only, by means of a large paint brush. 

" Presentation pieces " did not have the 
slip beaten in, because they were not for use. So 



I02 EARLY AMERICAN FOLK POTTERY 

the decoration was allowed to stand out in slight 
relief. These pieces, because they were intended 
to be ornamental, were taken greater care of, and 
are now more plentiful than the other pieces. 
(Miss Paull.) 

At the Exhibition connected with the 
Hudson-Fulton Celebration in New York in 1909, 
Mr. Pitkin sent twenty pieces of red clay wares 
from his Collection. These twenty pieces were 
made in the last quarter of the eighteenth and 
first quarter of the nineteenth century, and were 
selected particularly to show the variety of shapes, 
sizes, colors, and decorations, and were from 
Maine, Massachusetts, Connecticut and Pennsyl- 
vania. Conventional pie-plates and flat wares 
were avoided in this selection. From Maine were 
sent from Mr. Pitkin's Collection No. i. Mustard 
Pot, No. 3. Round jug, No. 5. Pot, No. 6. Jug. 
These all are from the vicinity of Portland, 
Maine, and of exceptionally fine colors, for Red 
Clay Wares. 

From Massachusetts were sent No. 27. 
small pitcher. No. 29. mug. No. 31. small mug. 
These were selected because of their quaint shapes 
and sizes. 

From Connecticut were sent No. 67. lion 
ornament signed "John Sanders 18 17 ", No. 80. 
large water pitcher made at the Seymour Pottery, 
West Hartford, about 1790, the color effect pro- 
duced by yellow " splotches " shot with green. 
No. 81. child's bank, with white slip decoration. 



EARLY AMERICAN FOLK POTTERY IO3 



No. 164. black glaze jug, New London County 
No. 166. Cider pitcher, rare shape and color 
(Eastern Connecticut). No. 43. Jar. No. 54 
Pitcher, vine tracery in color. No. 55. Mug 
Eastern Conn., green slip, fish motive. No. 57 
Tall cylindrical mug, dark chocolate. No. 58 
Small covered jar, fine coloring and tortoise- 
shell effect. No. 64. Water-pitcher, " smoke 
splotched " decoration. 

From Pennsylvania were sent No. 150. 
Preserve jar with rope handles. Dated 181 1. 
Decoration an American eagle, fish and flowers In- 
cised, and in green on a buff ground. No. 151. 
Gourd shaped vase, splotched decoration In Japan- 
ese taste. (The numbers refer to Mr. Pitkin's 
Collection In the Pottery Room of the Morgan 
Memorial, Hartford, Connecticut.) 

This Collection consists of about two hun- 
dred pieces, those of especially fine coloring may 
be noted In Nos. i, 2, 3, 5, 6, 11, 33, 34, 44, 50, 
54, 57, 58, 60, 64, 80, 99, 100, 137, 138, 150, 
151, 153, 155, 156, 160, 164, 166, 168. Those 
showing the early period of Connecticut make, 
are found under Nos. 50, 51, 52, 53, 54, 64, 80, 
166. Examples of the less common shapes are 
Nos. I, 6, II, 33, 34, 43, 54, 59, 67, 74, 80, 81, 
99, loi, 102, 108, 149, 151, 152, 154, 155, 156, 
160, 166, 168. Pieces made to order or Gift 
Pieces are Nos. 38, 39, 41, 85, 95, 97, 98, 103, 
106, 116, 117, and especially No. 170. Those 
bearing potter's marks are Nos. 11, 12, 13, 15, 



104 EARLY AMERICAN FOLK POTTERY 

l6, 17, 18, 19, 20, 21, 22, 23, 67, 118, 119, 122, 
123, 125, 148, 152, 168, 170. 

Particular attention is called to No. 170. 
A pie plate (Plate 7) of Pennsylvana "Sgraf- 
fito " ware extremely interesting. Dr. Edwin A. 
Barber refers to this dish in his book entitled 
" The Tulip Ware of the Pennsylvania German 
Potters. Philadelphia, 1903," on page 168 and 
on page 165, illustration No. 66, is given a com- 
panion piece to it. Much Interest centers around 
this piece in-as-much as the plate mentioned on 
page 165 was the first piece of this ware to attract 
attention to the existence of incised. Inscribed slip 
ware made in the United States. This ex- 
ample, No. 170, is well worthy of study, being 
fine in color, workmanship, and design. It is a 
Gift or Presentation piece, inscribed with the re- 
cipient's name, dated on both sides. On the re- 
verse side is scratched in the clay " Elizabeth 
Reiser, 1827, in Upper Hanuker Township, 
Montgomery County, Samuel Troxel, Potter." 
with German lettering. 

In incised or Sgraffitto ware, which is 
peculiar to Pennsylvania, the red clay was covered 
with a coating of white slip, through which the 
design was cut, allowing the red clay underneath 
to show. These designs were often partially 
filled with other colors, green, brown, red, etc., etc. 

Inscriptions formed borders around the 
edges and often included the date or the owner's 
name. 




No, 7. 



EARLY AMERICAN FOLK POTTERY IO5 

George Hubener was one of the Pennsyl- 
vania German potters who used this style of deco- 
ration and was one of the most elaborate. The 
exact location of his pottery Is not known but the 
family name was at one time common in Mont- 
gomery County, Pennsylvania, about 1793. 
Another Pennsylvania German potter was Joseph 
Smith, who began business about 1763. 

To Pennsylvania must be given the first 
place in the development of the Early American 
Pottery. This was the " most Interesting of all 
the States in this Industry, from 1733 to the 
middle of the Nineteenth Century." Dr. Edwin 
A. Barber of Philadelphia has written very ex- 
haustively on this subject. In Miss Florence V. 
PauU's Lecture on " Early American Pottery " 
she states the following: "The most decorative 
and interesting of the early American Potteries, is 
that made by the German settlers In Pennsylvania 
from 1733 to the middle of the Nineteenth Cen- 
tury, and thanks to Dr. Barber's researches, many 
facts have come to light regarding it. The name 
' Tulip Ware ' had been given to it, because of the 
frequent use of the tulip as an element in Its deco- 
ration. The first discovery of this was made by 
Dr. Edwin A. Barber, in 1891, when he found 
that a sgraffitto, decorated pie plate which he had 
supposed European, had an inscription around the 
edge. In Pennsylvania Dutch, a distinct German 
dialect, mixed with English. 



I06 EARLY AMERICAN FOLK POTTERY 

This plate was the nucleus of what is 
now the most complete Collection of this Pottery 
in this country. Many of the pieces he obtained 
from descendants of the makers, and the informa- 
tion that came with them has helped to identify the 
work of some of the numerous potteries, which 
were known to exist in Eastern Pennsylvania. The 
earliest German immigrants to Pennsylvania came 
from the Upper Rhine in 1683. They continued 
to arrive in large numbers from the provinces and 
cities to the east and west of the Rhine and from 
Switzerland, until about 1727, after which immi- 
gration increased enormously up to the Revolution. 
The large number of foreigners, entering the port 
of Philadelphia, so alarmed the officials, that they 
required all masters of vessels to prepare lists of 
their passengers, and all foreigners were obliged 
to sign a Declaration of Allegiance and Subjection 
to the King and of Fidelity to the Proprietary of 
Pennsylvania. Many of the first German settlers 
were well-to-do and besides paying all the expenses 
of their journey to America, they bought large 
tracts of land after their arrival. 

About 17 1 7, however, the masses of the 
poorer classes began to come, excited by the favor- 
able accounts sent back by those who had preceded 
them. No doubt, potteries were soon established, 
to supply house-hold needs. But the earliest piece 
so far known, is dated 1733 (a shaving basin). 
The Rhine provinces were a great producing sec- 
tion, and it naturally followed that the wares made 




No. 8. 



EARLY AMERICAN FOLK POTTERY IO7 

by the peoples from that section should closely 
resemble what they had made in their native land. 
The potters in the vicinity of Philadelphia, little 
by little were obliged to move farther to the 
west in the State. 

Three techniques were employed in the 
decoration of the large plates which are more fre- 
quently found, than Hollow ware, although there 
are several such pieces, in a very large and com- 
plete Collection at the Pennsylvania Museum. 

These types of decoration are slip, 
scratched or incised (called sgraffitto) and 
moulded. The last is the least common. 

Slip is clay usually yellowish white in 
color, which has been mixed with water, until it 
is of the consistency of cream, and can be poured 
from a slip-cup or bottle. Some were of clay, with 
indented sides and one or more openings at the 
end, into which quills were inserted, through 
which the slip flowed. Another opening on top 
could be opened or closed, by the finger, thus regu- 
lating the stream. Some cups had as many as 
three quills and these were employed to trace the 
wavy parallel lines found on many plates. 

The slip and sgraflitto wares made by 
John Leidy were among the best produced in the 
country. He died in 1838. 

David Spinner born of Swiss parents in 
1758 was considered quite an artist in his day and 
did all of his own decorating. He continued In 
the business until the close of his life in 181 1. 



I08 EARLY AMERICAN FOLK POTTERY 

His family were prominent in Buck's County, and 
he, himself, a Justice of the Peace for many years. 
Many of Spinner's signed pieces exist." (Miss 
Paull.) 

Johannes Neesz (Nase) was a Pennsyl- 
vania potter born 1775, died 1867. Jacob Schell 
worked as early as 1830, also a Pennsylvania 
potter, and also, David Haring about 1840 and 
Jacob Taney of Buck's County. 

Back of Old City Hall, New York, in 
1735, John Remmy had a Stone Ware factory. 
The business continued until 1820, when a great- 
grandson of the founder, moved to South Amboy, 
N. J., and opened a pottery there. A little earlier 
another grandson had started a factory in Phila- 
delphia, which is flourishing at the present time. 

Israel Seymour made stone ware in Troy, 
N. Y., from about 1809 to 1865, and at Albany, 
Paul Cushman, a contemporary of Seymour, made 
salt-glazed pottery. These are some of the small 
potteries, that were turning out utilitarian wares 
in the Eighteenth and at the beginning of the 
Nineteenth Century. 

After the middle of the Nineteenth Cen- 
tury, potteries began to flourish in many parts of 
the United States, particularly, in New Jersey, 
and New York, while in Aiken, South Carolina, 
the Southern Porcelain Company did a successful 
business until destroyed by fire in 1863 or 1864. 
Trenton, New Jersey and East Liverpool, Ohio 
were, and still are, great centers of Ceramic indus- 




No. g. 



EARLY AMERICAN FOLK POTTERY IO9 

try. In East Liverpool, it is said that about half 
of the inhabitants are interested in the forty (odd) 
factories, where pottery and its accessories are pro- 
duced on a large and profitable commercial basis. 



Notes on the Pitkin and Woodbridge Pot- 
tery AT Manchester Green, Conn. 

The first William Pitkin, b. 1635, "^d. 
1661, died 1694, md. Hannah Goodwin, b. 1637, 
died 1724. 

Second child, IVilliam, b. 1664, md. 1686, 
died 1723, Elizabeth Stanley, b. 1669, died 1751. 

Fifth child. Col. Joseph, b. 1696, md. 
1729, died 1762; md. Mary Lord, b. 1702, died 
1740. 

Eighth child, Capt. Richard, b. 1739, md. 
1758, died 1799; md. Dorothy Hills, b. 1731, d. 
1826. 

First child, Richard, b. 1759, md. 1782, d. 
1822; md. Abigail Loomis, b. 1758, d. 1838. 

Second child, Elizabeth, b. 1785, md. 
1800, d. 1839; md. Dudley Woodbridge, b. 1783, 
d. 1844. Dudley Woodbridge was a brother of 
Wells Woodbridge, who was the first postmaster 
at Manchester Green. They were sons of Deodat 
Woodbridge. Deodat Woodbridge and his son 
Dudley, kept the Woodbridge Tavern. 



no EARLY AMERICAN FOLK POTTERY 

Esther Wells Woodbridge, b. 1820, tenth 
child of Elizabeth Pitkin and Dudley Woodbridge 
m. Ralph Cone, b. Oct. 20, 18 18. 

In conversation with Mr. Ralph Cone, in 
July, 1909, he gave me the following information 
relative to the Pitkin and Woodbridge Pottery, 
of Manchester Green, Conn. : 

" On the south side of the street, extending 
east from Manchester Center to Manchester 
Green, tracts of land were owned by Richard Pit- 
km. Near his residence, a mile east of the Center, 
was the chief place of business at the time of the 
Revolution. The settlement contained a store, a 
tavern, a black-smith's shop, a pottery, and a glass 
factory. (See Memorial History of Hartford 
County, Vol. 2, page 246, by Rev. S. W. Rob- 
bins). Near the Pitkin Glass Works and a little 
north-west of the same was a pottery (probably 
for Stone Ware, only) , where were made jugs, 
jars, churns, bottles (barrel-shaped). A dozen 
men were employed here, and they fired one kiln. 

" The firm was ' Pitkin and Woodbridge,' 
Richard Pitkin and Dudley Woodbridge, son-in- 
law of Richard Pitkin. The clay came from Mr. 
Pitkin's lot, about a quarter of a mile east of the 
house of Aaron Cook, Jr., and it was known as 
the ' clay-hole piece.' " 

On September 25th, 1909, on Saturday 
afternoon, I visited Mr. Ralph Cone again, and 
bought from him a salt-glazed stone ware jar, 
with " ear handles." It is ten inches high, five 



EARLY AMERICAN FOLK POTTERY III 

inches the diameter of the base, six and a half 
inches diameter across the top (intended, but not 
exactly round) . Top edge, three eighths of an 
inch in thickness. This jar was given to Mr. 
Ralph Cone's wife, Esther Wells Woodbridge, by 
her mother, Elizabeth Pitkin Woodbridge (Mrs. 
Dudley Woodbridge) and was made at the " Pit- 
kin and Woodbridge " Pottery, Manchester 
Green, Conn. 



Qlatalngu^ 



OF 



iEarlg Am^nran 3F0lk Pntt^rg 



of 

5II|0 lEarlg Ammran 3FnIk JPntt^rg 
Slip Albert l|afittti0H jpuktn Ololbrtinn 

tn tijf 
morgan Ulrmortal. J^artforb, Qlann. 

No. I. Mustard pot. Rare russet color. Port- 
land, Maine. 

No. 2. Snuff jar. Choice color and mottling. 
Portland, Maine. 

No. 3. Jug. Golden green. Portland, Maine. 

No. 4. Pitcher, circa 18 15. Portland, Maine. 

No. 5. Pitcher. Seal brown and emerald green. 
Color and glaze unusual. Portland, 
Maine. 

No. 6. Jug. Exceptional Japanese effect in color 
and glaze. Portland, Maine. 

No. 7. Jug. " Smoke splotches." Portland, 
Maine. 



Il6 EARLY AMERICAN FOLK POTTERY 

No. 8. Jardiniere-shaped crock. Line decoration. 

Maine. 
No. 9. Jug. Mottled glaze. Maine. 
No. 10. Jug. Maine. 

No. II. Tea-pot. Black glaze. Medallion of 
Bolivar. Signed " John Mann Rah- 
way " circa 1830, N. J. 
No. 12. Pitcher. Black glaze. Metallic lustre. 
Signed " Geo. Hamlyn, East Lake 
Pottery. Bridgeton, N. J.". 2nd 
Quarter 19th Century. 
No. 13. " Toby " pitcher. Signed "American 
Pottery Co., Jersey City, N. J." 
circa 1840. 
No. 14. Shaving mug. N. J. 
No. 15. Toilet pitcher. Flint enamel. Tortoise- 
shell decoration. Signed " Lyman, 
Fenton & Co. Fenton's Enamel, 
Patented 1849, Bennington, Vt." 
No. 16. Toilet bowl. (Same as No. 15.) 
No. 17. Soap dish. (Same as No. 15.) 
No. 18. " Toby " bottle. (Same as No. 15.) 
No. 19. " Toby " bottle. (Same as No. 15.) 
No. 20. Water pitcher. (Same as No. 15.) 
No. 21. Toilet bowl. (Same as No. 15.) 
No. 22. Water pitcher. " Scrodled " ware. 
Signed " United States Pottery Co. 
Bennington, Vt." Circa 1850. 
No. 23. Hound handle pitcher. Hunting scene 
in relief. Signed " Nichols & Al- 
ford. Manufacturers, Burlington, 
Vt, 1854." 



EARLY AMERICAN FOLK POTTERY II7 

No. 24. 

No. 25. 

No. 26. Barrel-shaped spirit flask. Mass. 

No. 27. Cream pitcher. Mass. 

No. 28. Pitcher. Mass. 

No. 29. Mug. Circa 1820. Mass. 

No. 30. Quart pitcher, circa 1825. Mass. 

No. 31. Small pitcher. Mass. 

No. 32. 

No. 33. Fruit dish. Molded sides, green and 
russet glaze. 2nd quarter 19th Cen- 
tury. Maine. 

No. 34. Bowl. Fine glaze circa 1825. Conn. 

No. 35. Small pitcher. Conn. 

No. 36. Small jug. Conn. 

No. 37. Calce mold. " Spiral flute." Conn. 

No. 38. Spice jar. Marked in yellow slip. " D. 
H:" Conn. 

No. 39. Straight sided jar. Marked " 29 " in 
slip. Conn. 

No. 40. Preserve jar with cover. Conn. 

No. 41. Spice jar. Marked " H. A" in slip. 
Conn. 

No. 42. Small jar. Conn. 

No. 43. Jar. Light-brown glaze. Conn. 

No. 44. Jar. Dark-brown glaze. Conn. 

No. 45. Covered jar. Conn. 

No. 46. Preserve jar. Unusual shape. Incised 
lines. Early 19th Century. Conn. 

No. 47. Jar. New London Co., Conn. 



I I 8 EARLY AMERICAN FOLK POTTERY 

No. 48. Covered jar. " Smoked splotched." 
Norv^'ich, Conn. 

No. 49. Jar, ear handles. Norwich, Conn. 

No. 50. Pitcher. Black glaze. Circa 1800. 
Conn. 

No. 51. Small mug. " Strap handle " circa 18 10. 
Conn. 

No. 52. Cup. Slip decoration. Early 1800. 
Conn. 

No. 53. Pitcher. Conn. 

No. 54. Pitcher. " Strap handle." Rare shape, 
color and glaze, circa 18 10, Conn. 

No. 55. Mug. Green slip decoration. Eastern 
Conn. 

No. ^6. Small cream pitcher. Conn. 

No. 57. Tall drinking mug. Windham Co., 
Conn. 

No. 58. Presers'e jar. Exceptional color and 
glaze. Tortoise-shell effect. East- 
ern Conn. 

No. 59. Small cup. Conn. 

No. 60. Drinking cup. Marbled glaze. Conn. 

No. 61. Bottle. Conn. 

No. 62. Bottle. Flat Sides. Conn. 

No. 63. Bottle. Conn. 

No. 64. Pitcher. Black on orange. Fine shape, 
color and glaze. Early 19th Cen- 
tury. Conn. 

No. 6^. Canister. New London Co., Conn. 

No. 66. Spirit flask. Conn. 

No. 67. Figurine, lion. Signed " John Sanders, 
1 8 17." Conn. 



EARLY AMERICAN FOLK POTTERY II9 

No. 68. Jar. Orange and black glaze. Conn. 
No. 69. Jar. Glazed inside only, ist quarter of 

the 19th century. Hartford, Conn. 
No. 70. Small bottle. Glazed inside only. Conn. 
No. 71. Small jar with handle. Conn. 
No. 72. Small jar with handle. Conn. , 

No. 73. Bean pot with cover. Conn. 
No. 74. Melon-shaped jar. Very dark glaze. 

Circa 1825. Eastern Conn. 
No. 75. Covered preserve jar. Conn. 
No. 76. Crock. Glazed inside. Conn. 
No. 77. Small jug. Conn. 
No. 78. Straight-sided crock. Seymour Pottery. 

Hartford, Conn. 
No. 79. Small crock. Glazed inside. Conn. 
No. 80. Large melon-shaped pitcher. Light 

brown glaze, yellow slip splotches 

shot with green. Seymour Pottery. 

Hartford, Conn, circa 1800. 
No. 81. Money bank. White slip decoration. 

Conn. 
No. 82. Decorated vase. Circa 1850. Conn. 
No. 83. Cream pitcher. Conn. Circa 1850. 
No. 84. Cider mug. Unglazed. Early 19th 

Century. Conn. 
No. 85. Plate. Slip. Marked *' Sarah's Dish." 

Conn. 
No. 86. Meat dish. Slip decorated. Marked 

XV (Size.) Conn. 
No. 87. Meat dish. Conn. 
No. 88. Milk pan. Seymour Pottery, Hartford, 

Conn. Early 1800. 



I20 EARLY AMERICAN FOLK POTTERY 

No. 89. Milk pan. Conn. Early period. 

No. 90. Milk pan. Seymour Pottery. Hartford, 
Conn. Early 1800. (Same as 
No. 88.) 

No. 91. Deep dish. 15 inches. Conn. 

No. 92. Same as No. 91. 

No. 93. Plate. Conn. 

No. 94. (None.) 

No. 95. Presentation dish. " James Gordon Ben- 
nett " in yellow slip. Conn. 

No. 96. Plate. Conn. 

No. 97. Plate. " O. K. " 1843 i" green slip. 
Conn. 

No. 98. Dish. " Cup." Conn. 

No. 99. Small plate. Deep orange glaze. Conn. 

No. 100. Small plate. Russet glaze. Conn. 

No. loi. Oval fruit dish. Variegated slip deco- 
ration. Conn. 

No. 102. Bread tray. Serpent decoration. Conn. 

No. 103. Pie plate. " A. B. C." Conn. 

No. 104. Pie plate. Unused, circa 1840. (Late 
period.) Conn. 

No. 105. Pie plate. Seymour Pottery. (Late 
period. Circa 1835. Conn. 

No. 106. Pie plate. " Mince Pie." Norwalk 
Pottery. Conn. 

No. 107. Deep dish. Circa 1840. Conn. 

No. 108. Bowl. Conn. 

No. 109. Small milk pan. Conn. 

No. no. Plate, ist quarter of the 19th Cen- 
tury. Conn. 



EARLY AMERICAN FOLK POTTERY 121 

No. III. Same as No. 1 10. 

No. 112. Same as No. no. 

No. 113. Plate. Conn. 

No. 114. Plate. Conn. 

No. 115. Plate. Conn. 

No. 116. Small plate. "Cook." Conn. 

No. 117. Small plate. Initialed. Conn. 

No. 118. Potters mold. "J. B. G." 1833. 

Conn. 
No. 119. Potters mold. " M. Smith & Sons." 

Noi'walk, Conn. 
No. 120. Furniture knobs. Norwalk, Conn. 

circa 1850. Conn. 
No. 121. Coat buttons. Tortoise-shell glaze. 

So. Norwalk, Conn. 1825. 
No. 122. Stone ware pitcher. "Goodwin & 

Webster " Hartford, Conn. Circa 

1820. 
No. 123. Stone ware hot water bottle. Web- 
ster & Seymour." Hartford, Conn. 

Circa 1830. 
No. 124. Stone ware pitcher. Blue decoration. 

Conn. 
No. 125. Small stone ware jug. " D. Goodale." 

Hartford, Conn. Circa 18 10. 
No. 126. Gray stone ware scent bottle. Conn. 
No. 127. Stone ware gallipot. Conn. 
No. 128. Flower pot and saucer, pie crust edge. 

Conn. 
No. 129. Large melon-shaped jar. New London, 

Conn. 



122 EARLY AMERICAN FOLK POTTERY 

No. 130. Candle stick. Elaborate modelling. 
Rockingham ware. Ohio. 
Pair of ink-stands. Ohio. 
Ink-stand. Grotesque modelling, Ohio, 
Custard cup. Circa 1850. 
Same as No. 133. 
Pitcher. Penn. 
Tea-pot tile. Penn. 
Deep dish. Light body, combed deco- 
ration. Probably So. Penn. 
Same as No. 137. 
Same as No. 137. 
Plate. Conn. 
Same as No. 140. 

Deep dish. Serpent decoration, green 
and yellow slip. Penn. 
No. 143. Elaborately ornamented dish. Molded 
and impressed decoration. Mottled 
glaze, Penn. 2nd quarter of the 
19th Century. 
No. 144. Toy pitcher. Penn. 
No. 145. Toy jug. Penn. 
No. 146. Large mug. Seal brown. Penn. 
No. 147. Small pitcher. Penn. 
No. 148, Sugar bowl. " J. S. Henne." Circa 

1850. Penn. 
No. 149. Small deep dish. Penn. 
No. 150. Jar, Straight sides. Twisted ear han- 
dles. Elaborate incised decoration. 
Dark green on buff ground. Eagle, 
fish and flower motive. Dated 181 1. 
Penn. 



No. 


131. 


No. 


132. 


No. 


133- 


No. 


134. 


No. 


135. 


No 


136. 


No. 


137- 


No. 


138. 


No. 


139- 


No. 


140. 


No. 


141. 


No. 


142, 



EARLY AMERICAN FOLK POTTERY 1 23 

No. 151. Bottle-shaped vase. Rare tortoise-shell 

effect. Purplish splotches on light 

buff ground. Penn. 
No. 152. Small covered pitcher. Reddish brown 

glaze, colored slip decoration. Penn. 
No. 153. Small jar, ear handles. Mottled brown 

glaze. Slip decoration, ist quarter 

of the 19th Century. 
No. 154. Stand for Betty Lamp. Penn. 
No. 155. Small plate. Buff slip on dark glaze. 

Penn. 
No. 156. Deep plate. Tooled Marly. Colored 

slip decoration. Penn. 
No. 157. Compressed octagonal dish. Green & 

white slip decoration. Dated 1839. 

Penn. 
No. 158. Penn. Tulip ware dish. Glaze badly 

flaked. 
No. 159. Large deep dish. Brown and white 

slip decoration. Tulip motive. Penn. 
No. 160. Money bank. Unusual color and glaze. 
No. 161. Water pitcher. First Parian ware made 

in the U. S. A. Marked " United 

States Pottery Co., Bennington, Vt." 

circa 1846. 
No. 162. Goblet vase. Flint enamelled ware, 

Bennington, Vt. 
No. 163. Toby jug. Flint enamelled ware, Ben- 
nington, Vt. 
No. 164. Black glazed jug. Conn. Circa 1820. 
No. 165. Large preserve jar. New London, 

Conn. 



124 EARLY AMERICAN FOLK POTTERY 

No. 1 66. Water pitcher. Unusual glaze and 
color. Norwich, Conn. Circa 1810. 

No. 167. Bread tray. Norwalk, Conn. 

No. 168. Foot bath. Choice example of Ben- 
nington ware. Marked and dated 
1849, Vt. 

No. 169. 

No. 170. Sgraffito pie plate. Presentation piece 
to " Elizabeth Reiser " by " Samuel 
Troxel, Potter, 1827." Upper 
Hanover township, Montgomery 
County, Penn. Inscribed, signed and 
dated. 

No. 171. Jar. New London Co., Conn. 

Potters: 

D. Goodale. 

Goodwin and Webster, jug. 1818-1820. 
Webster and Seymour, hot water bottle. 
C. Webster and Son, 1 826-1 830. 
Norton and Russell, about 1826. 

To order or Gifts: 

Nos. 95, 97, 98, 116, 117, 85, 38, 41, 39, 
103, 106. 

Dated: 

67, 97, 118, 119, 150, 157. 

Potters' Marks: 

15, 16, 17, 21, 23, 20, 22, 18, 19, 148, 67, 
II, 12, 13, 118, 119, 122, 123, 125, 
152, 161, 168. 



EARLY AMERICAN FOLK POTTERY 1 25 

Conn. Shapes: 

43» 34, i55> 154, 74, 54, 33, 59, 8o, i6o, 6, 
8i, 151, II, loi, 108, 99, 156, 67, 
149, 152, 166, 168, 102. 

Colors. Greens, browns, grays. 

I, 2, 3, 4, 5, 6, 7, 8, 9, 10, Maine. 164, 
166, 137, 138, 139, 99, 100, 155, s6, 
34, 54, 64, 58, 44, 33, 80, 160, 151, 50, 
57, 60, 153, II, 150. 



UMoluttnnH mi ©ributea 



TO 



Mx. Albert Bafittnga ^pttkttt 



The following Tribute to Mr. Albert 
Hastings Pitkin of the Morgan Memorial, Hart- 
ford, Conn., was paid by Miss Florence V. Paull- 
Berger at a lecture given by her at the Metropoli- 
tan Museum, New York, January 13, 19 18. The 
topic of her lecture was " Early American Pot- 
tery " and Mr. Pitkin had been asked to give the 
lecture, but died October 14th, 19 17, and Miss 
Paull was asked to supply his place. 

" The recent death of Mr. Albert Hast- 
ings Pitkin, Curator of the Morgan Memorial of 
Hartford, Conn., who was to have spoken to you 
today was a great loss not only to the Museum 
world, but also to all who are interested in the 
study of Early American Art. 

Mr. Pitkin and his close friend. Dr. 
Edwin A. Barber for many years Director of the 
Penn Museum at Philadelphia, whose death oc- 
curred a short time before Mr. Pitkin's, had to- 



130 TRIBUTES 



gether specialized in the study of American Pot- 
tery and were widely recognized as experts on 
the subject. 

As early as 1893 Dr. Barber had pub- 
lished his volume on ' The Pottery and Porcelain 
of the United States,' which covers the history of 
the Ceramic country from the period of the Ameri- 
can Indian to the later years of the 19th Century. 
No work on the subject has since been written 
which can supersede it. 

Dr. Barber's chief interest was in the 
decorated wares of the German settlers in Penn- 
sylvania and he published a monograph on Tulip 
Ware (as it is called), of the Pennsylvania Ger- 
man potter, in which the subject Is very thoroughly 
treated. For many years he has been gathering 
fine examples of this Pottery for the Penn 
Museum and the Collection there is unrivalled as 
far as I know. 

Mr. Pitkin's studies were devoted to the 
wares made in New England such as the Stone 
Ware and Red glazed wares of Connecticut, and 
the productions of the United States Pottery at 
Bennington, Vermont. Like Dr. Barber, he col- 
lected steadily along the lines where his Interest 
lay, and his Collection of choice examples of Red 
Ware and Bennington may be seen in the Morgan 
Memorial at Hartford where his recent installa- 
tion of the beautiful objects presented to the 
Museum by Mr. J. P. Morgan cannot fail to 
impress all visitors. 



TRIBUTES 131 



In speaking to you on Early American 
Pottery, I feel that it is quite impossible for me 
to take the place of one who was such an 
authority on the subject, and who had studied the 
New England Folk Pottery with such enthusiasm. 

It is interesting to know that Mr. Pit- 
kin's love for this ' Folk Pottery ' was first 
aroused by having given him a little jar which was 
brought from Salem, Mass., by his wife. 

Mr. Pitkin did not limit his Collection 
of Red Ware to that made in Connecticut, but in- 
cluded some of the Pennsylvania and New Jersey 
products. I have already mentioned Mr. Pit- 
i?:in's unrivalled Collection of Bennington, Vt. Pot- 
tery in the Morgan Memorial, Wadsworth Athe- 
neum, Hartford, Conn." 

Mrs. Florence V. PauU-Berger succeeded 
Albert Hastings Pitkin, as Curator of Wadsworth 
Atheneum, June first, 191 8, after many years' con- 
nection with the Museum of Fine Arts, Boston, 
Mass. 

Dr. F. W. Gunsaulus, President of The 
Armour Institute of Technology of Chicago writes 
in a recent letter: 

" No one has passed out of my life in re- 
cent days except Dr. Barber, whose presence was 
more beneficent and loved than that of Albert H. 

Pitkin His great Memorial is in 

the heart of his friends and in the work he did in 
the City of Hartford." 



132 TRIBUTES 



In connection with the work of installing 
the Morgan Collection at the Morgan Memo- 
rial, Hartford, Mr. J. P. Morgan writes: — 

" I was very much interested in the way 
in which Mr. Pitkin worked out the installation in 
the Museum and very grateful to him for the skill 
and ability that he has shown in that arrange- 
ment." 



Henry R. Howland of Buffalo, New York, 
President of the American Association of 
Museums, writes: 

" Through his connection with the Ameri- 
can Association of Museums I had learned to 
know Mr. Pitkin quite well, and it is a sense of 
personal loss that comes to me, now that he has 
been taken from us. His quiet ways, his efficiency 
and his interesting personality, all made for a 
friendship, the memory of which will always be a 
happiness to me." 



Mr. George Hart of 28 Wardour Street 
(Piccadilly Circus) London W. of date, June 8th, 
19 1 8, writes: 

*' I feel that I have lost a very dear and 
valued friend in the late Mr. Pitkin. I am quite 
sure his loss will be keenly felt by all who had the 
privilege of knowing him." 



At a meeting of the Walpole Society, held 
at the house of the " Club of Odd Volumes " in 
Boston, on November ninth, Nineteen Hundred 
Seventeen, after a feeling tribute paid by one of 
the members, to the memory of the late Albert 
Hastings Pitkin, it was unanimously 
VOTED that through a Committee consisting of 
Messrs. Henry W. Erving and Luke Vincent 
Lockwood, the Society express to Mrs. Pit- 
kin its deep sorrow at the loss of its valued 
associate, and its sincere sympathy with Mrs. 
Pitkin in her bereavement. 
The Society highly esteemed the many excellencies 
of character of their late friend, and valued his 
companionable qualities and his great interest in 
all the aims of the Society. 

It also greatly appreciated his knowledge 
of Ceramic Art, and his faithful persevering study 
and research Into matters connected therewith, 
together with his ever cheerful readiness to assist 
others In its study, and to impart his information 
to all earnest students. 

The Walpole Society and Its members, in- 
dividually have sustained a heavy loss in the pass- 
ing of Mr. Pitkin. 

Signed Henry W. Erving, 

Luke Vincent Lockwood, 

for the Walpole Society. 
This Resolution is beautifully engraved. 
133 



foanUttui«0 of % 
^w:tttith (Enwmt Art OIlub 

Whereas, it has pleased Providence to remove 
from our midst, our respected friend and 
Honorary member, Albert Hastings Pit- 
kin, thereby leaving a vacancy in our Club 
that can never be filled, therefor be it 
Resolved, that we express our sense of the 
high character of his attainments, his rare artistic 
perceptions, his unfailing courtesy and his gener- 
ous help and encouragement, to us, in our work 
for the advancement of Ceramic Art, and be it 
Resolved that we express to Mrs. Pitkin our pro- 
found sympathy in her bereavement and the assur- 
ance that his memory will always be revered 
among us, and be it Resolved that a copy of these 
resolutions be sent to Mrs. Pitkin, and that they be 
spread upon the Minutes of the Club. 

Signed Annie W. Gibson, President, 
Mary A. Smith, Secretary. 
November ninth, Nineteen Hundred Seventeen. 

These Resolutions are very beautifully 
engraved. 



134 



S^00lutuitts of t\}t Mnmtxpni Art g^nrt^tg 

0f 
i^artfbrb, Olomtprttrut 

Resolved, that the Directors of the Munic- 
ipal Art Society express publicly their sense of the 
deep loss, both to this Society and to Hartford, 
which we have suffered in the death of Albert 
Hastings Pitkin. 

As Curator of the Collections in the Mor- 
gan Memorial, Mr. Pitkin's thorough knowledge 
of the Art treasures of our city was always gladly 
placed at the services of any of our citizens, and 
his enthusiastic interest in all that had to do with 
the artistic life of Hartford, was of the greatest 
value to this community. 

His death so soon after the formal open- 
ing to the public of our beautiful J. Pierpont 
Morgan Art Collection, deprives us of an unique 
and valuable contribution of service to our civic 
life, at a time when it is most needed. 

Signed William H. Honiss, President, 
Leila Anderson, Secretary. 



135 






At a meeting of the Trustees of Wads- 
worth Atheneum, held on the 17th day of Novem- 
ber, 19 17, the President, having announced the 
great loss which the Institution had suffered in the 
death of Mr. Albert H. Pitkin, General Curator, 
the following vote was passed: — 

Since the last meeting of the Trustees of 
Wadsworth Atheneum, the General Curator, Mr. 
Albert H. Pitkin, has been taken from us, by 
death. 

Mr. Pitkin was interested In the Athe- 
neum, long before he had any official position 
here. This interest was manifested by gifts and 
Loan Exhibitions, from his varied and valuable 
Collections. 

In 1 9 10, he was appointed Curator of the 
Department of Ceramics, and while this position 
was purely Honorary, he gave to It very largely 
of his time and thought. He, not only himself 
made important gifts and loans, but he labored, 
zealously and successfully to secure the same from 
others. 

136 



TRIBUTES 137 



In 19 16, he was appointed General Cura- 
tor of Wadsworth Atheneum and from that time, 
he devoted himself, untiringly, to the work of his 
office, and he discharged its responsibilities and 
duties, with a faithfulness, which is beyond all 
praise. 

His remarkable attainments as a student 
and collector of Early American Pottery were 
recognized by all of the leading Museum author- 
ities throughout the country, and he had been in- 
vited to lecture on this topic during the coming 
winter, before the Metropolitan Museum of Art, 
New York City. 

On the personal side, his death has 
brought grief to all of his associates, and we 
sorrow most of all, that we shall see his face here, 
no more. 

Resolved, that this Minute be entered on 
the Records of the Atheneum and that a copy be 
transmitted to his family with the assurance of the 
sincerest sympathy of the Trustees of Wadsworth 
Atheneum in their great bereavement. 

Dr. Francis Goodwin, President, 
James B. Cone, Secretary. 



Albert Ifaflttttga f ttkUt. 

From the earliest settlement of New England, 
the name of Pitkin has been an eminent one in the 
annals of its history. 

A worthy and prominent member of this family, 
Albert Hastings Pitkin was born August 20, 1852 
in Hartford, Connecticut, son of Albert Palmer 
and Jane Ann (Hastings) Pitkin, died there Octo- 
ber 14, 1917. 

He was a lineal descendant of William Pitkin 
who was born in England in 1635 and died 
December 16, 1694. He came from England to 
America in 1659 and was admitted a freeman 
October 9, 1662. He was appointed in 1662 as 
Prosecutor for the Colony; in 1664 appointed 
Attorney General by the King; in 1675 and until 
1690 was the representative of Hartford in the 
Colonial Assembly; was Treasurer of the Colony 
in 1676, and Commissioner to the United 
Colonies; was appointed in 1676 to negotiate 
peace with the Narragansett and other Indian 
tribes; elected a member of the Colonial Council 



I40 TRIBUTES 



in 1690. He was one of the principal citizens of 
the town and was appointed with John Crow to 
lay out the first main street and other streets on the 
east side of the Connecticut river. He married in 
1 66 1, Hannah Goodwin, the only daughter of 
Hon. Ozias Goodwin and Mary (Woodward) 
Goodwin. 

Roger Pitkin, eldest child of William and Han- 
nah Pitkin was born in 1662 and died November 
24, 1748. He was appointed Captain of the first 
Militia Company on the east side of the river and 
was actively engaged with his company in the de- 
fense of the town against the Indians in 1704 and 
also, at other times. He owned the Covenant with 
the First Church of Christ in Hartford November 
22, 1685. 

In 1683, he married Hannah Stanley, daughter 
of Captain Caleb and Hannah (Cowles) Stanley. 
The father of Captain Caleb Stanley was a passen- 
ger with the Rev. Thomas Hooker when he came 
to America. Roger and Hannah Pitkin were the 
parents of Jonathan Pitkin who was born March 
I, 1697 and married in 1728 Rebecca, a daughter 
of Philip Smith of Hadley, Massachusetts. 

Jonathan Pitkin, Jr., their son, was born in 
1730, and died December, 18 12. He married in 
1760, Lucy, a daughter of Dr. Joseph and Eliza- 
beth (Hollister) Steele born January 24, 1740, 
and died February 20, 1804. 

Ezekiel Pitkin, their second child, was born 
January 26, 1763 and died May 12, 1843. Previ- 



TRIBUTES 141 



ous to 1807, he married Euphemia Chapman and 
they were the parents of Denison Palmer Pitkin 
born February 15, 1807, died July 18, 1781. He 
married in 1828 Phoebe Dunham, daughter of 
Benjamin Turner of Mansfield, Connecticut. She 
was born July 10, 1807, and died September 7, 
1866. 

Albert Palmer Pitkin their son was born Feb- 
ruary 27, 1829. He married November 4, 185 i, 
Jane Ann Hastings, a daughter of Captain Henry 
and Sarah Ann (Dewey) Hastings, born Decem- 
ber 8, 1828, died Febniary i, 1876, in Hartford, 
Connecticut. Albert Palmer Pitkin and Jane Ann 
(Hastings) Pitkin had three sons, Albert Hast- 
ings Pitkin born August 20, 1852; md. Sarah 
Howard Loomis, April 23rd, 1874. He died Oc- 
tober 14th, 19 1 7. 

H oward Seymour Pitkin born October 31, 1 8 60 ; 
md. Nellie Bulkeley Hutchinson October 31, 
1893. She died December 27, 19 16. He died 
October 23, 19 17. 

William Taft Pitkin born April 20, 1867; md. 
Nellie White Kennedy March 15, 1893. 

ALBERT HASTINGS PITKIN, son of and 
eldest child of Albert P. and Jane Ann (Hastings) 
Pitkin was born in Hartford August 20th, 1852, 
and died there October 14th, 19 17. Upon leav- 
ing school, he entered the Connecticut Mutual Life 
Insurance Company of Hartford and remained 
with that Company until he became connected 
with the Morgan Memorial. In 19 10 he was 



142 TRIBUTES 



appointed Curator of Ceramics in the Morgan 
Memorial, Hartford, Conn., and in the fall of 
19 1 6 General Curator of the Wadsworth Athe- 
neum and the Morgan Memorial. For years Mr. 
Pitkin was a student of, and collector of Ceramics, 
specializing in Early American Pottery. In con- 
nection with his work he had made extensive 
travels in this country and in Europe. On one of 
these trips, he visited twenty-six of the principal 
museums of Europe in order to learn their meth- 
ods of classification and installation. 

In company with a friend, the late Dr. Edwin 
A. Barber, who was director of the Pennsylvania 
Museum of Philadelphia, Mr. Pitkin made a trip 
to Mexico and at another time was ten months 
on the Pacific coast. They together visited the 
great Exposition of Mohammedan Art in Munich 
in 1910. 

He installed the J. Pierpont Morgan collections 
in the Morgan Memorial; the Samuel P. Avery 
Silver and Cloisonne collections, all the pottery in 
the Pottery Room and the Furniture and Silver 
Collections of Mr. George Dudley Seymour, 
there. 

There is perhaps, no finer collection of antique 
furniture and pottery than that owned and col- 
lected by Mr. Pitkin, during his life to be found 
in the entire state. A portion of his collection is 
on view in the Morgan Memorial of Hartford. 
In addition to his pottery collections, he also 



TRIBUTES 143 



specialized in rare books and his library contained 
many priceless volumes. 

He assisted in installing many collections of 
pottery in New York, Albany, Philadelphia, 
Waterbury, Litchfield and New Haven. 

He was a member of the First Church of Christ 
in Hartford, which he joined in 1871 when Rev. 
George Leon Walker was pastor there and who 
was an intimate friend of Mr. Pitkin. 

He was a member of the Society of Mayflower 
descendants in Connecticut and several times was 
a delegate to the Triennial Congress at Plymouth, 
Mass. He was a member of the Jeremiah Wads- 
worth Chapter, Sons of the American Revolution, 
of the Connecticut Historical Society, of the Wal- 
pole Society, of the National Association of Mu- 
seums to which he was often sent as a dele- 
gate from the Wadsworth Atheneum, to their 
meetings in New York, Boston, Philadelphia, 
Washington, Milwaukee and Chicago. On April 
23, 1874, Mr. Pitkin married Sarah Howard 
Loomis, daughter of Chester and Mrtj Weston 
(Thayer) Loomis of Boston, Mass. The latter 
was a lineal descendant of John and Priscilla 
(Mullins) Alden of the Pilgrim Colony, and the 
former of Joseph Loomis one of the pioneer 
settlers of old Windsor, Connecticut in 1639. 
Fifty acres of the old Loomis homestead has 
been devised as the building site of the Loomis In- 
stitute. It is interesting to know that this piece of 
land has been in the possession of the Loomis 
10 



144 TRIBUTES 



Family, ever since it was first bought by Joseph 
Loomis the first settler, February 2, 1640 in the 
early settlement of the town of Old Windsor. 



:l "0 W^>^ 



ittb^K 



MhtK 



Alsop, Joseph, 31. 
Anderson, William, 31. 
Avery, Samuel P., 142. 

Baker, James, 31. 

Barber, Dr. Edwin A., 
II, 37, 40, 69, 78, 
105, 129, 130, 142. 

Barber, Enoch, 30, 32. 

Beach, F. Bagnall, 27. 

Beerbower, L, B., 31. 

Belding, David, 93. 

Bennett Brothers, 27. 

Bennington, Vt., 16, 70. 

Benton, George, 90. 

Berger, F. V. P., 77, 96, 
129, 131. 

Boardman, S,, 91. 

Boardman, Stanley, 90. 

Boardman, Thomas, 91 



Boardman, T. D., 91. 
Boyden, George, 93. 
Brooks, Hervey, 16. 
Buel, Lucretia, 16. 
Buel, Jonathan, 16. 
Burglin, John,_3i. 
Burtleman, William, 31. 

Caldwell, James, 31. 
Caldwell, John, 31. 
Caldwell, John, Jr., 31. 
Carey, Adam, 32. 
Cartwright, William, 

Cartwright, John, 31. 
Chase, L. & B. G., 97. 
Clarke, Decius, 32, 34. 
Cone, James B., 137. 
Cone, Ralph, no. 
Coxe, Dr. D., 88. 



148 



INDEX 



Cross, Peter, 90. 
Cullien, Thomas, 32. 
Cushman, Albert, 34. 
Cushman, Paul, 108. 

Day, Charles H., 93. 
Danforth, Augustus, 32. 
Dewey, 22. 
Dorset, Vt., 19. 
Dow, George Francis, 

78, 96. 
Doulton, 30. 
Dyer, Walter, 41. 

Eastlake Pottery, 116. 
Edmunds, Barnabas, 97. 
Emmons, Mrs. C. H., 

35,78. 
Erving, Henry W., 78, 

90, 133- 

Fenton, 23, 28, 40. 
Fenton, Christopher, 

Webber, 18, 19, 25, 

26. 
Fenton, Fanny, 34. 
Fenton, Louise Anna, 

.34. 
Fillmore, Henry D., 

34, 40. 
Fry, Theophile, 29, 31, 

33- 

Gager, 28. 

Gates, Henry S., 32, 
33, 78. 



Gilbert, Miriam, 87. 
Godfrey, 34. 
Godfrey, Frederic, 38. 
Godfrey, Rufus, 32. 
Goodale, Daniel, 88, 

90, 121. 
Goodwin, 16, 85, 86. 
Goodwin, Ebenezer, 

86, 87. 
Goodwin, Dr. Francis, 

I37-. 
Goodwin, George T, 

87. , 

Goodwin, Hannah, 109. 

Goodwin, Horace, 88, 

90. 

Goodwin, Harvey, 87. 

Goodwin, Harvey B., 

87. 

Goodwin, Horace H., 

87. ^ 
Goodwin, Isaac, 86. 
Goodwin, Nathaniel, 

86. ^ 
Goodwin, Ozias, 86. 
Goodwin, Pitts, 87. 
Goodwin, Seth, 86, 87, 

88. 
Goodwin, Thomas 

O'Hara, 87, 88. 
Goodwin, Wilbur E., 

Goodwin, William, 86. 
Greatbach, Daniel, 20, 

29, 33, 40. 
Greenslit, Frank, 38. 



INDEX 



149 



Guilford, Mrs. John 

L., 94. 
Gunsaulus, Dr. F. W., 

94. 

Hall, Henry, 18, 20, 

25. 
Hamlyn, George, 116. 
Hancock, Frederic, 38. 
Haring, David, 108. 
Hastings, 92. 
Hastings, Andrew, 91. 
Hastings, Benjamin, 91. 
Hastings, Henry, 91. 
Hastings, Wellington, 

93- 
Harrison, John, 20, 30, 

33- 
Hartford Ceramic Art 

CluB, 134. 
Hart. George, 132. 
Henne, J. S., 122. 
Hews, Abram, 94, 95. 
Hickmott, William J., 

78. 
Hills, Dorothy, 109. 
Hinman, W. S., 17. 
Hollins, William, '^o. 
Hollis, Dr., 28. 
Howland, Henry R., 

132. 
Hubener, George, 105. 
Hutchins, Thomas, 32. 

Jeffords, J. J., 33. 
Johnson, Jerome, 38. 



Kendall, Miles, 96. 
Keough, John, 32, 34. 
Kettle, Jonathan, 96. 
Keyes, Samuel, 23, 28. 
Kimball, C. C, 38. 

Lawton, Henry, 30. 
Lawton, Joseph, 30. 
Leake, Charles, 30, 32. 
Leake, W. G., 30, 31, 

32, 78. 

Leake, William, 30. 

Leake, William L., 32. 

Lear, Enoch, 31. 

Leidy, John, 107. 

Leigh, John, 30,31, 32. 

Loomis, Abigail, 109. 

Lord, Mary, 109. 

Lockwood, Luke Vin- 
cent, 133. 

Lyman, 28. 

Lyman, A. P., 21, 25, 
27. 

Lyman & Fenton, 28, 
72. 

Maddock, William, 31. 
Mann, John, 116. 
Marquis, Charles, 18. 
McQuire, Daniel, 32. 
McQuire, Patrick, 32. 
McDougal, James, 32. 
McDougal, Samuel, 32. 
McLea, William, 31. 
Molds, John, 31. 
Moon, Dick, 31. 



150 



INDEX 



Moore, Enoch, 31, 32, 

34. 
Moore, Henry, 32. 
Moore, William, 32. 
Morgan, J. P., 132. 
Morgan, J. Pierpont, 

I3p'. 142. 
Municipal Art Society, 

135- 

Nase, Johannes, 108. 
New London, 117, 118, 

121, 123, 124. 
Nichols & Alvord, 116. 
Nichols, E. L., 18. 
Norton, Capt., 17. 
Norton, David, 16. 
Norton & Fenton, 23, 

70, 71. 
Norton, Edward, 18, 

20, 21, 38, 42. 
Norton, Edward L., 42. 
Norton, Frank, 38. 
Norton, John, 16, 17, 

19, 20, 21, 38, 42. 
Norton, Julius, 20, 42. 
Norton, L., 27. 
Norton, Luman, 16, 19, 

231 34. 42. 
Norton, Luman, P., 42. 
Norton, Louisa, 19. 
Norton, Mrs. L. S., 22. 
Norwalk, 120, 121, 

124. 
Norwich, 118, 124. 
Oatman, Andrew, 78. 



Osborne, Joseph, 96. 
Osborne, William, 96. 
Ostrander, 22. 
Orcutt, Eleazer, 93. 
Orcutt, W. & E., 93. 
Owens, William, 31. 

Park, 28. 

Park, Calvin, 25, 34. 
Peeler, Anson, 28. 
Pierce, John, 16. 
Pitkin Collection, 23, 

24, 29, 35, 70, 73, 

102, 103, 109. 
Pitkin Glass Works, 

1 10. 
Pitkin, H. & J. F., 91. 
Pitkin, Richard, no. 
Pitkin, William T., 78, 

141. 
Pitkin & Woodbrldge, 

109, I II. 
Portland, 114. 
Piatt, Thomas, 31. 
Pruden, John, 31. 
Putnam, G. P., 41. 

Reed, Joseph W., 96. 
Remmy, John, 108. 
Ridgways, 31. 
Riddle, Charles, 32. 
Riddle, Dwight, 32. 
RIsley, Albert, 90. 
Robinson, 22. 
Robinson, D. F., 90. 



INDEX 



151 



Robinson, George, 23, 
Rockwood, George, 18. 

Salem, 97. 

Sanford, Charles, 32. 

Sanders, John, 118. 

Schell, Jacob, 108. 

Seabridge, William, 31. 

Sedman, John, 31. 

Seymour Pottery, 119, 
120. 

Seymour, George Dud- 
ley, 142. 

Seymour, Israel, 108. 

Seymour, Nathaniel, 

84. 

Seymour, O.H., QO, 91. 

Sibley, 32, 34. 

Silliman & Goodrich, 
41. 

Smith, Elbert, 92. 

Souter, John, 90.^ 

Southern Porcelain Pot- 
tery, 108. 

Southwick, William, 97. 

Spinner, David, 107. 

Stuart, Levi, 90. 

Stanley, Elizabeth, 109. 

Stanley, Harriet, 94. 

Stanley, Rufus A., 94. 

Southwick, James Chap- 
man, 97. 

Taney, Jacob, 108. 
Thatcher, 20, 21. 



Theis, Stephen, 31, 32, 

33- 
Tittery, Joshua, 88. 
Troxel, Samuel, 124. 
Tudor, Charles, 17. 
Tunichff, Joseph, 31. 

Umpleby, William, 31. 
U. S. Pottery, 72, 73. 

Vance Faience Co., 30. 
Van Loon, S. D., 93. 

Wadhams, Jesse, 16. 
Wadsworth Atheneum, 

136. 
Walpole Society, 133. 
Walker, Mrs. W. B., 

22, 40, 78. 
Webb, G. E., 92. 
Webster, 88. 
Webster, Anne, 86. 
Webster, C, 88. 
Webster, C. T., 90. 
Webster, Henry, 91. 
Webster, McCloud, 90. 
Webster, M. C, 91. 
Webster & Seymour, 

121. 
Wells, William, 32. 
White, Ralph H., 34. 
Whittemore, Joseph, 

96. 
Wilcox, 32, 34. 
Wilson, Moses, 17. 
Williams, James, 38. 



I 5 2 INDEX 

Williams, Susan F., 87. Wood, Enoch, 95. 

Williamson, Frederick Woodward, Mary, 86. 

Jm S^i 5i> 78. Wray, Leonard, 31. 

Woodbridge, 109. Wray, William, 31. 
Woodbridge, Esther 

Wells, no. 



Cream Ware, 20, 55. 

Flint Enamel, 38, 39, 40, 41, 57, 58, 59, 60, 

61, 62, 62, 64, 65, 66, 72, 115, 122. 
Lava, 38, 40. 
Marbled, 47. 
Parian Ware, 20, 24, 25, 28, 33, 35, 38, 39, 40, 

41, 46, 51, 52, 53, 54, 55, 56, 57, 71, 72, 73. 
Red Ware, 15, 17, 22, 42, 81, 82, 89, 98, 99. 
Rockingham, 18, 19, 20, 24, 25, 28, 31, 32, 33, 

34, 38, 39, 42, 43, 44, 70- 
Salt-glaze, 37. 

Scrodled, 38, 47, SS^ 73, ii5- 
Sgraffito, 104, 107, 123. 
Stone-ware, 15, 22, 24, 39, 43, 86, 92, 98, 99, 

108, no, 120. 
Tulip Ware, 104, 105. 
White Granite, 38, 47, 54, 57. 



